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To CHARLES DILLINGHAM, Esq,, 


TO WHOM I OWE A DEBT OF GRATITUDE 
FOR MY AMERICAN FAME, AND TO 
WHOM ALL SKATERS ARE THANKFUL 
FOR THE STIMULATING INFLUENCE HIS 
ENTERPRISE HAS HAD IN REVIVING 
INTEREST IN AMERICA IN THE GREAT¬ 
EST OF ALL ATHLETIC PASTIMES, THIS 
LITTLE VOLUME IS RESPECTFULLY 
DEDICATED. 



mm -2 I9!6 


COPYRIGHT, 1916, 

by 


The Hippodrome Skating Ci ub 


New York 





SALUTATION. 




















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HIPPODROME 
SKATING BOOK 


PKACTICAL, ILLUSTKATED 
LESSONS IN THE AKT OF 


Figure Skating 


AS EXEMPLIFIED BY 


wftarfotte! 


Greatest Woman Skater in the World 


PREMIERE IN THE ICE BALLET 


NEW YORK HIPPODKOME 


ELEMENTARY SCHOOL FIGURES 
ADVANCED SCHOOL FIGURES 
PAIK SKATING AND WALTZING 
EXHIBITIONS AND COMPETITIONS 


PUBLISHED BY 


The Hippodrome Skating Club 


770 SIXTH AVENUE, NEW YORK 


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“CHARLOTTE/’ 


































CONTENTS. 


^hapter 

1— THE RIGHT EQUIPMENT, Skates, Shoes, Costumes, 

etc.Page 11 

2— Correct Form of Skating.Page 15 

Illustrated Page 17 

3— Outside Circles, forward.Page 18 

- 4—PLAIN CIRCLES, Inside Edge Forward.Page 22 

Illustrated .Page 22 

5— OUTSIDE CIRCLES, Backward.Page 26 

Illustrated .Page 27 

6— INSIDE CIRCLES, Backward.Page 30 

Illustrated .Page 33 

7— CHANGE OF EDGE; Forward; Outside to In¬ 

side .Page 34 

8— CHANGE OF EDGE; Forward; Inside to Out¬ 

side .Page 36 

Illustrated.Pages 36-37-38 

9— CHANGE OF EDGE; Backward; Outside to Inside 

and Inside to Outside.Page 40 

Illustrated.Pages 40-44 

10— THREES—Forward and Backward.Page 45 

Illustrated.Pages 46-47 

11— DOUBLE THREES Forward.Page 49 

12— DOUBLE THREES Backward.Page 53 

13— LOOPS, Forward .Page 55 

Illustrated.Pages 56-58 

14— LOOPS, Backward.Page 59 

Illustrated.Pages 60-61 

15— BRACKETS .Page 63 

Illustrated .Page 65 

16— ROCKERS; Outside Forward and Outside Back¬ 

ward .Page 67 

17_ROCKERS; Inside Forward and Inside Back¬ 
ward .Page 70 

18— COUNTERS .Page 73 

Illustrated .Page 74 

19 — The Advanced School Figures.Page 75 

Illustrated . Page 76 

20— Other Important Figures. Page 77 

Illustrated .Pages 69-72-83 

21— FREE SKATING .Page 79 

Illustrated .Page 80 

22— Pair Skating .Page 81 

23— _Competitions and Judging.Page 90 

24— Skating Ponds and Rinks.Page 92 
















































INTKODUCTION. 


MERICANS ought to be the greatest skaters in the 
world. They are athletic people, lovers of outdoor 
sports and their country is situated in the largest tract 
of the North Temperate zone occupied by any one 
nation in the world. In this zone is found sufficient cold 
weather to produce a great deal of natural ice and at the 
same time such agreeable weather as to render the use of that 
ice, for sport, attractive and exhilarating. In this respect the 
United States is more fortunately situated than any of the 
countries of northern Europe. 

This little book is intended as a stimulus and encouragement 
toward ice skating among Americans. It is intended as much 
for women as for men. There are no physical reasons why 
women should not skate quite as well as men. Skating is a 
matter of balance and grace, not strength. Young girls often 
become very expert skaters, doing all the difficult feats that 
grown men accomplish. Up to within a few years ago, the 
figure skating championships of Europe were open to both men 
and women on equal terms. Perhaps the fact that women 
excelled in grace was partially responsible for the separation of 
the sexes in these championships. 

Much attention is paid in the book to the fundamental 
strokes, called school figures. These are the foundation of all 
figure skating. After they have been fully mastered the 
skater will probably discover a tendency to adopt an individual 
style and make up special figures suited to individual physical 
or temperamental characteristics. One skater, for instance, will 
especially enjoy spins and whirls; another will incline toward 
big, showy spirals; another will develop individual skill in two- 
foot movements such as grapevines, etc. Skating, like every 




other fine sport, becomes an expression of individuality. The 
foundation rules must first be learned, after which personal 
choice will direct the skater toward special figures most to his 
or her liking. 

Skating is a sport for everybody—girls and boys, young 
people and old people. It can be started in extreme childhood 
and enjoyed far into old age. It can be a fast, strenuous 
exercise or a gentle enjoyment of poetic motion. It stimulates 
health, prompts to wholesome life out of doors, is a social diver¬ 
sion and, in its best development, requires considerable mental 
application. In every respect it is an ideal sport for people of 
any nation, especially those situated where natural ice is found 
or artificial ice is provided. 



Frontispiece and cover design by Mr. Karl Struss. 
Portrait Study, page four, by Count Streclecki. 
All other photographs posed for at White’s Studio. 

1 wish to thank my American skating friend, Mr. 
James A. Crulkshank of New York, for his assist¬ 
ance in the arrangement of this book and for prepa¬ 
ration of the manuscript for the printer. 












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“CHARLOTTE” on right inside edge forward. 

















CHARLOTTE’S personal equipment for skating. 






















Hippodrome Skating Book. 


Page 11 


CHAPTER 1. 

The Right Equipment, Skates, Shoes, Costumes, &c. 

KATING on ice is the best sport in the world. It is 
also the best method in the world for developing grace 
of carriage, supple muscles and fine health through a 
fascinating exercise. I have tried all the various sports, 
including swimming, fencing, dancing, tennis and mountain 
climbing, and there is none to compare with ice skating. 

Strange as it may seem, ice skating will both reduce fat 
and add fat; if mildly followed as a regular exercise it will 
stimulate appetite, digestion and that zest in life which makes 
for healthy, rounded physique without superfluous fat. If 
persisted in vigorously, it will reduce flabby fat into smooth 
muscle. It is especially good for the reduction of fat around 
the waist and hips. 

Skating to music is the most rhythmic of all exercises and 
far surpasses dancing in enjoyment and benefit. Dancing gen¬ 
erally implies the need of a partner who dances equally well, 
while skating is a sport which can be enjoyed with a partner 
or without one. In fact, the more expert one becomes in skating 
the less one is dependent upon any one else for the pleasure of 
the sport. 

To skate properly or to learn to skate, the right equipment 
is absolutely essential. The skate is the first essential; one may 
skate fairly well with shoes which are inappropriate or costume 
which retards free action, but with the wrong skates it is 
impossible to learn the art. 

The proper skate has two stanchions or uprights running 
from the blade to the foot and heel plates. There seems to be 
scientific warrant for the statement that this method of con¬ 
struction makes it “run farther.’’ The old pattern having three 
stanchions or supports has been discarded by the best skaters 
of all skating countries for years. 

The toe of the skate should curve up and around the toe 
of the shoe, in many patterns even touching the sole of the shoe 
in front. This curved front is deeply cut in with very sharp 





Page 12 


Hippodrome Skating Book. 


sawteeth, and it is on these sawteeth that so many of my pirou¬ 
ettes and pivots and dance steps are made. The height of the 
foot plate from the ice is much less than that of the heel plate 
from the ice, which naturally throws the skater into a forward 
balance. Most of the time I am skating upon the part of the 
skate directly under the ball of my foot. The curve of the 
blade from toe to heel is about a nine foot radius. 

My skates are very light, weighing only four ounces. I 
advocate a light skate, and I think that most of the skates being 
used are too heavy. As one becomes more expert, lighter skates 
become more important, for in spins and turns on one foot the 
weight of the shoe and skate can seriously affect the balance 
and throw the skater into a false curve. 

For about two inches along the blade of my skate, almost 
directly under the ball of my foot, I have a slightly flattened 
space which permits the immense curves and spirals I execute. 
These would be impossible with a sharply curved blade. The 
blade of my skate is splayed—that is, it is wider at the centre 
than at the toe and heel. 

I have quite a deep groove ground in my skates, and I have 
the outer edge of the skate slightly lower than the inner edge. 
The height of the skate above the ice is not very important. 
Some of the experts favor great height. My skates are built 
comparatively low. 

The flat bladed skate ought not to be used by any one 
who wishes to learn figure skating. The hockey skate is the 
right skate for hockey, but the wrong skate for anything else. 
To learn on that type of skate means that the skater must learn 
all over again when figure skating is attempted. 

I am glad to hear that some of the American manufacturers 
are even making their hockey skates with a curved blade, so that 
the simple curves can be learned on that type of skate. There 
are several excellent models of skates now being made in the 
United States. 

The skating shoe should fit very snug around the heel and 
over the instep, and should be comparatively high, seven or 
eight inches being my preference. The heel of the shoe should 
be higher than that of the sporting or tramping or golf shoe 
now being worn by the American woman. 

It is important to get such skates and shoes as will throw 


Hippodrome Skating Book. 


Page 13 


the balance of the body forward onto the ball of the foot when 
one stands on the ice. This can only be done by raising the 
heel of the foot, partly through the design of the skate and 
partly through the height of the heel of the shoe. But no such 
thing as French heels are intended or advocated, of course. 

The shoe should lace from close to the toes up and should 
be a comparatively straight last. A strong, stiff leather lined 
shoe should be the first choice. Afterward, as the ankles 
strengthen, a lighter shoe can be worn. I often skate in low 
shoes, my ankles are so strong, and the only trouble I find with 
my low shoes is that the heel slips out in the toe spin. 

Artificial braces are sometimes valuable aids to the beginner. 
The best braces consist of a bandage wrapped carefully around 
the ankle and foot under the stocking. A stiff piece of leather 
set inside the shoe between the stocking and the shoe is an 
excellent brace. It can be removed as the skater gains strength. 

The shoe should not be laced so tight as to stop circulation 
or to interfere with the play of the toes, but it should be capable 
of being laced with rigid firmness around the instep. Skating 
is hard on the feet at first and makes them sore and tender. A 
thin lisle or wool stocking is advisable for the beginner, and 
cold baths will soothe and strengthen the foot muscles. 

The costume for skating may now include practically all 
varieties of design and material, ranging from silk to leather, 
the latest fad. Nowhere can a woman look prettier and no¬ 
where can she look less attractive than on the ice. Some items 
are essential, however. The material of the skating costume 
ought to be something which does not bulk up, something which 
falls into naturally graceful curves and straightens out quickly. 

An undergarment of silk or satin in the form of a petticoat, 
bloomers or knickerbockers is important in skating any difficult 
or spectacular figures, since it serves to keep the gown from 
bunching around the legs. The skirt should be comparatively 
snug around the hips and free, even slightly flaring, around 
the edge. Fur bands around the edge of the skirt give an air 
of appropriateness. 

The new unrestrained and somewhat bold way of skating 
necessitates skirts which permit freedom in the swinging and 
spread of the legs. A petticoat or short skirt of thin woven 


Page 14 


Hippodrome Skating Book. 


elastic goods, especially if of silk, makes an ideal undergarment 
for the skater, whether beginner or expert. 

The length of the skirt should be about to the tops of the 
skating shoes. Sensible costumes are now being adopted by 
the best skaters of all countries. One should as soon think 
of swimming in a long skirt as skating in one. The skirt which 
reaches to the middle of the calf will be found both com¬ 
fortable and graceful. 

My skating costume at the Hippodrome is probably regarded 
as very daring, but I wish every woman who skates might test 
for herself how comfortable it is. There is a stimulus in 
suitable costumes which it is impossible to get any other way. 
Skating is worth a pretty and appropriate costume, and such a 
costume will last for years and be always in style. 


AN INTERNATIONAL SKATE STYLE 
of American Manufacture. 

srrj l 

Note:—The CHARLOTTE SKATE, designed and used by 
CHARLOTTE, is not as yet being manufactured in America, but it 
will be on the market next winter. Those who desire this skate should 
accept none as the genuine CHARLOTTE Skate unless stamped with 
her trade-mark on the side of the runner. 










Hippodrome Skating Book. 


Page 15 


CHAPTER 2. 


Correct Form in Skating. 



HE tracing of certain set figures on the ice is by no 
means all there is to figure skating. The correct car¬ 
riage of the head and body, the arms and the balance 


leg are not merely an important part of the sport; 
they are even the very basis on which good marks are given in 


all serious competitions. No skater wishes to look like a freak 
on the ice. To avoid it one must cultivate the right carriage 


and balance from the start. Certain accepted rules are in vogue 


among the European skaters which tend to make skating grace¬ 
ful. They should be memorized carefully and followed every 
time the skater goes on the ice. 

The head should be carried erect. Momentary looking down 
at the ice to see where to place a figure is permitted but the 
habit of a drooping carriage of the head should be carefully 
avoided. It is as unnecessary as it is ungraceful. 

The arms should not be held close to the body nor should 
they be flung violently about. If the former position is taken 
the skater looks stiff and awkward. If too wide reaching out 
of the arms is permitted the skater appears to be grasping at 
imaginary straws like a drowning man. Both extremes are bad 
but of the two it is better to allow the arms freedom of poise 
and carry them gracefully extended than stiffly hung to the 
sides of the body. Fencing and interpretive or folk dancing 
furnish interesting examples of the right use of the arms during 
vigorous action. The individuality of the skater is often re¬ 
vealed by the carriage of the arms as much as by the tracing 
of the figures. 

Bending of the body from the hips, sidewise, is neither neces¬ 
sary nor permissible. It is a fault which beginners adopt from 



Page 16 


Hippodrome Skating Book. 


fear of falling. But the sharp edge of the skate sustains the 
body in its temporary violation of the law of gravitation. Take 
a firm edge and let the body lean as much as is necessary or 
desired. Some skaters take a much stronger edge than others 
and therefore lean more than others. 

The men ought to be told that there is nothing more ungrace¬ 
ful or unsuitable for skating than long trousers. Knickerbockers 
and tight fitting coats with just a bit of military cut are the 
right costume for the men who would skate well and look well. 
The best European skaters among the men all skate in woolen 
tights, but they are a little theatrical and do not always serve 
to increase one’s admiration for the wearer. 

Bending the body forward or backward from the waist is 
generally only temporary and for the purpose of obtaining 
strong impetus for an initial stroke or adding power to a stroke 
already started. In general the carriage of the body should be 
upright, with the chest expanded and the shoulders held back. 

The skating leg should be bent at the knee. This bending 
m.ay be increased occasionally to gain power but the straight¬ 
ening up of the body should almost immediately follow. Too 
much bending of the skating knee makes an ungraceful appear¬ 
ance. The balance leg should be carried somewhat away from 
the skating leg, with the knee well bent and the foot turned out¬ 
ward and downward. The knees should seldom touch in skat¬ 
ing and should never be held close together for any considerable 
length of time. In some figures there are temporary and neces¬ 
sary violations of both of these rules. 

The position and carriage of the hands have very much to do 
with the effect created by the skater. They should be extended 
gracefully, with the fingers neither stretched out nor clenched 
and with the palms turned down or toward the body. 



% 


4 


CIRCLE. Right outside edge, forward. (ROF) 


Page 18 


Hippodrome Skating Book. 


CHAPTER 3. 

Outside Circles, Forward. 

TART with the idea that good skating is a hard thing 
to acquire. It is. For the same reason it is interesting. 
Easy things never hold their interest very long. Grace¬ 
ful skating implies perseverance and determination. It 
requires close application to right principles from the very start 
and rigid concentration upon a number of important rules, sev¬ 
eral of which the skater will have to keep in mind during the 
moment of execution of any figures. But the fact that it is 
the chosen sport of most of the people dwelling in the northern 
parts of the world, women as well as men, proves that it is 
not too difficult to permanently hold the enthusiasm of lovers of 
outdoor sport. 

Curves are the fundamental figures in skating. True, the 
racing skate and the hockey skate permit only straight strokes, 
but these skates are a development of the sport by which greater 
speed or steadier position against attack is obtained. Graceful 
skating and the execution of figures on the ice are impossible 
without the proper skate. 

The first figures to learn, and the basis of all further progress 
in the art, are the outside edge circles. The outside edge of 
the skate is the edge furthest away from the body. There is 
an outside edge on each skate and this edge can be used to skate 
forward or backward; there are, therefore, four outside edge 
circles, one on right forward, one on left forward, one on right 
backward and one on left backward. For convenience and 
simplicity these edges are often designated thus: ROF, mean¬ 
ing right outside forward, etc. 

The most important things to have in mind as one skates the 
elementary figure are carriage, poise and deliberation. If the 
body is correctly poised a slight stroke will carry the skater in 
the right direction; no amount of straining or kicking will cause 
the skate to execute the right figures if the body over that skate 
is in the wrong position or wrong balance. 





Hippodrome Skating Book. 


Page 19 


My own skating as head of the ice ballet at the New York 
Hippodrome is fast and spectacular, I admit; it has to be so 
to be theatric, to catch the crowd, to startle the sensation seeker. 
But it is not quite so fast when I am skating for my own amuse¬ 
ment. 

Size is the next most important consideration in skating the 
elementary or school figures. All the plain circles should be 
made as large as possible without sacrificing correct balance all 
the way to the end of the curve. The European skaters make 
the plain circles, in the form of an eight, with a diameter of 
fifteen to twenty feet. The beginner will find about eight feet 
as large a circle as can be made without loss of poise, but this 
depends also upon the question of size and strength of the 
skater and whether man or woman. 

It is essential that the skater learn to use both feet equally 
well. If one foot is harder than the other to manage, it must 
be skated with more often until equal skill is attained. It will 
generally be found that right handed persons are more proficient 
in skating with the left foot and vice versa. To skate each 
figure equally well on either foot is not merely the right standard 
to set; it will be found fundamental to the correct execution of 
[figures implying a reverse direction, and it is the basis of suc- 
[cess in pair skating. 

i Now we are ready to strike out on the right outside edge. 
Stand with feet together. Get your start on the right foot by 
pressing the left skate, by its edge, not by its point, firmly 
against the ice. Bend the skating knee a good deal, almost sink 
ion it, something in the manner of the dancing dip, and lunge 
Istrongly forward, leaning toward the centre of the circle. The 
■^eft leg should follow well behind, and a little across the print, 
with the knee bent and the toe turned out, and the body should 
be turned or twisted so that the right shoulder is almost directly 
over the right foot. This will bring the body flatly m line with 
the mark on the ice which the skate is making. This mark is 
called the print. (See the diagram for the first skating position 
near the feathers of the arrow.) 

The arms will take their correct, natural position, the right 
arm being held well up and curved around the breast at a dis¬ 
tance of about six inches and the left arm well extended directly 
behind the body. ^ 





Page 20 


Hippodrome Skating Book. 


This general position should be sustained during one-half of 
the circle. Then slowly bring the balance foot past the skat¬ 
ing foot, turning the toe in and bending the knee of the balance 
foot as it is carried forward. It must be kept very close to the 
skating foot in passing, otherwise there will be a tendency for 
its weight to swing the skater out of the true circle he is making. 

The fact that the balance leg, which was being carried be¬ 
hind the body, has now been brought in front of it, implies 
that a complete change in the balance of the body has taken 
place. Up to a little more than one-half of the circle the body 
has been held strongly forward; as the foot passes the skating 
leg the body assumes first a straight and then a slightly back¬ 
ward balance. The arms, too, have been serving to compensate 
the balance. At first they are held well toward the left or 
behind. As the body twists or turns into the new position and 
the shoulders are brought square with the direction of the print, 
the arms slowly swing forward and, from being held on the 
outside of the circle at the beginning of the stroke, are found on 
the inside of the circle at the end of the stroke. 

The general principle of skating implies that the arms and 
the legs are used for compensating balances in almost every 
stroke. When the arms are on one side of the body the leg is 
on the other. There are a very few violations of this broad 
principle, but they are associated with the execution of extremely 
complicated figures. 

The body performs a gradual and almost complete rotation 
during the execution of the forward outside circles. At the 
beginning of the stroke the back is toward the centre of the 
circle, at the end of the stroke one faces the centre. I he twist¬ 
ing of the body during the stroke should be first at the shoulders 
and afterward at the hips. But care must be exercised not to 
make this twisting conspicuous. It must be gradual, deliberate 
and almost unnoticeable. In fact, it is difficult to believe as 
one writes about the stroke that all these changes of poise and 
balance are taking place. It is excellent practice to stand in 
the various positions on one’s floor and get them clearly in mind. 








“CHARLOTTE” in novel kid skating costume. 
















^ i-- T.A-- -ii-'.-'-t. 




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Page 22 


Hippodrome Skating Book. 


CHAPTER 4. 

Plain Circles, Inside Edge Forward. 

EXT to the outside edges in importance are the inside 
edges. Indeed, it is more accurate to say that they 
are of equal importance. For some reasons the inside 
edge deserves the premier position in skating. 

Spectacular and exhibition skating probably draws into use 
more bold inside edges than it does outside edges. There is 
a certain attraction about the poised body executing the inside 
edge that the outside edge lacks. 



CIRCLE. Right inside edge, forward. (RIF) 







Hippodrome Skating Book. 


Page 23 


Many of my own big sweeping curves following quick dance 
steps are on the inside edges and they have come to me without 
any especial analysis of the reasons for their introduction. The 
fact that they have worked themselves into my varied programme 
implies that I find them both agreeable and natural. 

The outside edge may be said to be an unnatural balance, 
almost a false balance. The weight of the body, if it is held 
erect over the print or mark which is being executed in the out¬ 
side edge circle, is outside of the circle, where it has a natural 
tendency to pull the skater away from the circle he is trying to 
execute. 

This pull has to be counteracted by leaning the body well 
toward the centre of the circle which is being skated. There 
are many compensating and at the same time conflicting balances 
in the outside edge circles which make them more difficult than 
the inside edge circles. 

The inside edge circles, on the other hand, especially those 
skated forward, are in some respects the most natural and easy 
balances in the whole school of skating figures. They are the 
most natural stroke for any beginner to take. It is sometimes 
well to allow a beginner to start with these inside circles merely 
for the encouragement which their comparatively easy accom¬ 
plishment will bring to the pupil. The more difficult outside 
edges can be gradually worked into the practice. 

The reason why the inside plain circles forward are easy, is 
found in the fact that the natural balance of the body, poised on 
either skate, has a strong tendency to the inner curve. The 
weight of the body is in the inside of the circle which it is pro¬ 
posed to execute, not outside, where a pull out of the direction 
of right progress is constantly at work. 

On the inside edges the body has opportunity to swing as a 
pendulum in a natural curve which has a tendency to end in a 
spiral. The fact that a spiral almost invariably results from the 
uncorrected inside edge serves to prove that the stroke is a 
natural and correct skating position. But since the spiral is 
the very thing that must not be permitted to enter into the execu¬ 
tion of the plain inside circles, at least until the skater has fully 
mastered all the school figures, there must be careful correction 
of the balance to round out the inside edges into full circles 
and prevent them from becoming spirals. 




Page 24 Hippodrome Skating Booki; 

The outside edges which we studied in the last lesson aft! 
hard. The inside edges are much easier. But there are certain 
fundamental things to remember in the inside edge circles. Andj 
unless they are remembered the figure cannot be executed prop-l 
erly. The circle will insist upon becoming a spiral in spite; 
of all the skater can do unless these few foundation principles 
are mastered. An excellent method for learning to skate, seen: 
constantly on the skating floors of Europe, is the little book orj 
even the page from the book, held in the hand of the skater j 
and studied constantly as the figure is practised. It is difficult : 
to remember the various poses and changes of carriage. i 

The most important item to remember in the inside forward ' 
edges is the carriage of the shoulders and the manner in which j 
they are slowly turned during the execution of the circle. Next | 
to that in importance is the carriage of the balance leg. Here \ 
let me repeat that it is almost invariably true in skating that the 
correct balance as well as the most graceful poise is found when 
the arms and hands are used to compensate the weight of the 
balance leg. If the balance leg is inside the circle which is 
being skated, the arms will generally be carried outside and 
vice versa. When the balance leg is forward of the body there 
will be a slightly backward poise; when the balance leg is 
carried far behind the body there will be a strong forward lean¬ 
ing of the body. If this general principle is remembered by the 
ambitious beginner much will be gained in progress toward cor- ? 
rect carriage. ' 

Now start out on the right inside forward circle. Start from 
the push of the left skate squarely pressed against the ice, not 
from the toe of the skate. Bend the skating knee considerably, 
take a firm hold of the ice with the inside edge of the skate, 
lunge strongly forward with the leg carried well behind, knee 
bent and toe turned cut. The shoulders, at the start of the 
figure, should be twisted toward the right, which will bring the 
left shoulder forward; this position is maintained for about one- 
fourth of the circle, when the shoulders are slowly brought 
square with the print and from this point to the end of the circle 
the right shoulder continues to be brought forward until, at the 
end of the circle, the shoulders are almost in line with the print. 

When one-half of the circle has been completed, the balance 
leg, which up to this time has been carried well behind, is slowly 








Page 25 


IjJ Hippodrome Skating Book. 

ej brought forward and carried past the skating leg, the body 
nj meanwhile swaying from a forward to a backward balance to 
[j| compensate the weight of the leg in front. As the balance foot 
. passes the skating foot the knee of the balance leg is well bent, 
; the toe turned out, and the foot carried as close to the skating 
foot as possible. Then the balance leg is carried well to the 
1 1 right, across the print and considerably elevated above the skat- 
i ing knee. 

The arms, which were carried on the right of the body, well 
I elevated, at the start of the figure, are slowly swung across to 
the left of the body as the balance leg swings forward and 
across the print. The close of the figure is one of the most 
striking and effective poses in the whole list of school figures. 
Unless the balance leg is carried well forward and across the 
print, the body straightened up and the arms carried across 
simultaneous with the bringing forward of the balance leg, the 
figure will degenerate into a spiral. Finish the figure as close 
to the starting point as possible. Do it at least three times on 
* each foot and practise most on the weaker foot. 












Page 26 


Hippodrome Skating Book. 


CHAPTER 5. 

Outside Circles, Backward. 

OST spectacular and most applauded of all the items 
on my programme in the ice ballet in “Flirting at St. 
Moritz,” at the Hippodrome, are the backward outside 
edges or circles. Probably the very simplicity of them 
adds to the effect which they create in the mind of the crowds. 
The series of jumps which I make from a forward outside 
edge to a backward outside edge, is nowhere near as hard as 
it appears. And the complete revolution in the air which I 
make from one outside backward edge to the same edge again 
is dependent upon the accuracy and firmness of the outside 
edges. These are but two of the simple, yet very spectacular 
features of my exhibition which are based on the outside back¬ 
ward edges. 

The outside edges backward are very popular for exhibition 
and spectacular purposes. But they are fundamental figures 
which must be mastered by every skater who hopes to make 
real progress in the most beautiful of all sports. 

First the beginner must get a little confidence in skating back¬ 
ward by what is called “sculling.” The friend or helper is 
more important in learning the fundamental backward figures 
than in the forward figures. The best position for the helper 
when one is learning the backward strokes is facing the be¬ 
ginner; thus the beginner will skate backward and the instructor 
or friend will skate forward, right hands joined to left hands. 

By a gentle push from the instructor or friend, the beginner is 
sent backward. Then should begin the waving lines made by 
the skates on the ice as the learner sways from side to side and 
throws the balance of the body from one foot to the other and 
from one edge to the other. Probably the beginner will not 
realize that he is making a sculling or waving mark on the ice 
until he has examined the print of the skates. It is an excellent 






CIRCLE. Right outside edge, backward. (ROB) 







Page 28 


Hippodrome Skating Book. 


practice to look at the marks which you have made in the ice. 
Often the accuracy of a curve or circles, or the correct tracing 
of a three or counter or rocker will be impossible to determine 
until the print has been examined. The judges in all great con¬ 
tests study the print on the ice as much as they do the carriage 
of the skater. 

The sculling motion and strokes should be continued until the 
skater realizes that he is making a slight outside edge with each 
skate as his body changes its balance. Then learn to take the 
foot which is not being skated on, off the ice, carry it forward 
of the body toward the helper and trust to the outside edge of 
the skating foot. 

When some considerable practice has been done in this man¬ 
ner and a part of a circle can be accomplished on the outside 
edge backward it is time for the beginner to start the full circles, 
or at least to learn to make the figure large and try to get 
back to the starling point. 

The backward outside edges require nerve and daring. Here 
the skater’s qualifications for the sport will often come out. 
Skating backward in any circumstances is trying work to the 
beginner, and the curious balance of the outside backward 
circles is a hard thing to learn when one is at the same time dis¬ 
tressed by the perfectly natural fear of skating backward. But 
make up your mind, clench your fists, grit your teeth and pluckily 
go at it. 

Standing with both feet together on the ice, the starting 
stroke is made by pressing firmly with the flat part of the left 
skate on the ice and lunging backward strongly on the outside 
edge of the right skate. The chief difficulty in mastering this 
important figure comes from the innate hesitancy of the beginner 
to throw his balance backward. If this backward lunge is firm 
and strong, more than half the dfficulty of the stroke has been 
mastered. 

The balance left foot is carried across the right leg with the 


Hippodrome Skating Book. 


Page 29 


knee bent and the toe turned out and the leg carried fairly 
high in the air, not dragging behind. The shoulders rotate 
during all the circle edges, as we have seen in those which have 
already been studied. In the backward circle eights on the 
right foot, the left shoulder should be held well in front; this 
position, holding the shoulders almost square with the print, 
should be maintained through the circle. 

The left foot, which is carried across the right leg and in 
front of the skater at the start of the stroke, should be brought 
slowly past the skating foot when about one-third of the circle 
has been completed, then carried well extended in a “spread- 
eagle” position to the end of the circle. This is one of the few 
strokes in skating where but little change of the position of the 
arms occurs during the completion of the circle. They slowly 
turn with the shoulders and maintain a graceful pose, with 
hands extended and palms downward. The general idea of 
the backward circle is to keep the entire body, arms and 
legs, almost directly over and slightly inside the print; its 
weight will tend to swing the body around as a revolving 
pendulum. The outside circle eights, either forward or back¬ 
ward, are somewhat forced or false balance, since the body has 
to lean considerably toward the centre of the circle to get the 
centre of gravity in the right place. 

These articles are for beginners, and they ought not to hold 
me too closely to the rules I lay down. Many of my exhibition 
figures are so unusual and contain such unexpected combinations 
of jumps, counter rockers and spins that I have to violate rules 
or the figures could not be done. I have been accused of having 
no rules for skating, as I do so many things my own way. And 
when you have progressed to the point where they want news¬ 
paper articles from you which they head with the flattering 
remark that you are the greatest woman skater in the world, you 
will be in a postion to violate rules a little bit. My pet 
philosopher says that rules were made for slaves. 




Page 30 


Hippodrome Skating Book. 


CHAPTER 6. 


Inside Circles, Backward. 

LL backward skating is difficult to acquire. After it 
is acquired it is more interesting than forward skating. 

Some of the very difficult jumps in mid-air which 1 
do are taken backward because it is really easier to do 
them that way than forward. There is one jump where I am 
skating backward on the outside edge on the right foot, swing 
the left foot violently around, spring into the air, make a com¬ 
plete revolution of my body, land on the outside edge of the 
right foot again and continue on a big sweeping curve. It is 
in some respects the most popular number that I introduce. It 
is done that way solely for the reason that it is much easier 
backward than forward and yet at the same time it looks more 
difficult backward than forward. 

Most skating figures will be found easier forward than back¬ 
ward. Probably that is partly due to the fact that not as much 
time is spent by any skater learning backward skating as is 
spent learning forward strokes. The art of skating backward 
requires pluck and courage. When one attempts the full back¬ 
ward circles without a helper it is an occasion to mark in one’s 
diary. 

The plunge is the main thing in learning to skate backward. 
Make up your mind some fine morning that you are going to 
practise outside edges backward or inside edges backward all 
of the skating session of that day. Then do it. Skating is 
a matter of will power after all and not at all a matter of 
strength. I took up skating just because I was not strong and 
the doctors said it was outdoor life or a little narrow box for 
me. 

It is hard to catch one’s self during a fall when one is on the 
outside circles backward; the position during much of the inside 
circles backward makes it easier to get ready for the fall after 
you feel sure it is coming. Not that I mean there is any 
special instruction necessary in the matter of falling for there is 




“CHARLOTTE” in spectacular backward stroke. 




Page 32 


Hippodrome Skating Book. 


not. Just let go and sit down as meekly as you can, smile and 
look about helplessly and some chivalrous American is sure to 
hurry to your aid. This is much more dignified and less liable 
to be embarrassing than scrambling to all fours, stepping on 
your gown and, perhaps, falling over again. 

To get a strong start for the inside circle backward is the 
hardest part of the acquirement of the figure. Stand on the 
flat of the left skate, swing the right foot in front of you, just as 
if you were going to make a little jump backward onto that foot, 
bend the right knee a good deal and lunge onto the right skate 
on the inside edge. The left foot as it leaves the ice should then 
be carried across the right leg, with the knee bent and the toe 
turned out and down. It should be carried well across the 
print or mark that the skate is making on the ice and somewhat 
high, not dragging along. The body should lean strongly 
backward. 

As the stroke is begun the shoulders are turned well toward 
the right and both arms are carried on the right of the body out¬ 
side of the print. This is one of the very few cases where the 
arms are caried on the same side of the print as the balance leg 
and it is due to the fact that the body naturally inclines toward 
the center of the circle when it is on the inside edges. The 
head should be facing the starting point throughout the execution 
of the circle. 

When about one-third of the circle has been skated then 
slowly bring the balance foot past the skating foot, knee bent 
and toe turned strongly out and down. Simultaneously the 
shoulders should be turned toward the left until the body faces 
the center of the circle and maintained in that position to the 
end of the figure with both arms, one forward and the other 
following, almost directly over the print. As the balance fool 
passes the skating foot the body is straightened and for a mo- 
m.ent the arms are drawn close to thp body. This straighten¬ 
ing of the body and change in the carriage of the balance foot 
will make it possible for the skater to round out the circle to 
its correct proportions. All inside edge circles have a strong 
tendency to become spirals. At the close of the stroke the 
skater will be in the right position for the start of the same stroke 
on the opposite foot. 



CIRCLE. Right inside edge, backward. (RIB) 







Page 34 


Hippodrome Skating Book. 


CHAPTER 7. 

Change of Edge; Forward; Outside to Inside. 


I HE change of edge is one of the most important school 
figures and should be carefully practised by every skat- 
I ing pupil. It is not spectacular, although it is very 
graceful and very easy to acquire. 

I like the changes of edge and, like all other expert skaters, 
find them of the greatest importance at certain times. When 
one has an audience of skaters I find these figures much better 
appreciated than at other times. At a private party given on 
the stage of the Hippodrome, I was skating a difficult figure 
where there were three small circles at the four corners of a 
square. I went from one of the corners to the other by a 
change of edge and a three after it. The skaters who were 
watching me applauded this figure as generously as any figure 
of a more spectacular character that I do during the regular 
performances of matinees and evenings during the week. But 
they were all skaters and appreciated the difficulty and the 
beauty of the figure. 

The right outside edge forward is the best way to start to 
learn the changes of edge. It is easier than the change of edge 
which begins with the right inside edge forward, for the reasons 
which I have explained in previous chapters concerning the way 
that the body tends to swing around toward the circle on inside 
edges and tends to swing away from it on outside edges. 

The start of the right outside forward change of edge is the 
same as for the right outside forward circles and it seems un¬ 
necessary to repeat those directions. The drawings, too, will be 
found precisely similar in the pose for some of the figures as for 
some other figures. This is one way to get double practise. 
Every time one practises the outside change of edge forward 
he is practising the right start of the outside forward circles. 
Every lime he is practising the inside forward change of edge 
he is practising the start of the inside forward circles. 

Start the right outside forward edge circle, as we have seen. 



Hippodrome Skating Book, 


Page 35 


by pressing the left skate squarely against the ice and thrusting 
onto the right foot outside edge. The left foot should be 
carried well behind and a little across the print with the knee 
bent and the foot turned out and down. The skating knee 
should be strongly bent at the start of the stroke. The shoulders 
should be turned so that the right shoulder is almost over the 
right foot and the left shoulder twisted well to the back. When 
nearly half of the circle has been completed gradually turn the 
shoulders toward the right, which will bring them square across 
the print or direction in which the skater is moving. 

When half the circle is complete the change of edge from 
the right outside forward to the right inside forward occurs. 
The balance of the body is here changed from an outside to an 
inside circle and the general directions which have been given for 
the execution of an inside edge circle will be found applicable. 
But the manner of making the change from the outside to the 
inside edge is most important and this portion of the figure is 
new to the pupil. 

As the outside forward half circle is nearly completed and 
the change of edge about to occur, the body, which has been 
carried on a slightly forward balance, is slowly changed to a 
backward balance, and the left foot, which has been carried 
behind during the completion of the outside forward circle, is 
slowly swayed past, close to the skating foot, and carried well 
in front, somewhat high. Sinking on the skating knee at the 
time of the change of edge will much assist the full rounding 
out of the figure. The arms should not be allowed to swing 
the body around during this change of edge as they are liable to 
do if carried too high or too far from the body. 

Follow same directions for left forward outside change of 
edge. 


Page 36 


Hippodrome Skating Book. 


CHAPTER 8. 

Change of Edge; Forward; Inside to Outside. 


FEEL convinced no one can be called a skater until 
he can do the school figures. Every day I practise the 

_ simplest of the school figures—outside circles, forward 

and backward; threes, changes of edge, loops, and the 
rest of them. I do this because I am sure they are the best 
practice for keeping the skater in right form and correct balance. 
You may not see many of them on the ice of the Hippodrome 
pool, so you must take my word for their importance to me. 
When one has but a few moments in which to crowd a skating 
performance, which shall be just as thrilling as you know how 
to make it, little time can be spent on the A, B, C’s of skating. 



CHANGE OF EDGE OR SERPENTINE. Right outside 
_edge, forward, change edge, inside forward. (ROIF) 





Hippodrome Skating Book. 


Page 37 


The lesson to-day is again on the change of edge. There 
are really four of these to learn on each foot. Beginning on 
the outside edge forward and changing to the inside forward 
we had last time. This time we begin on the inside edge for¬ 
ward. and change to the outside edge forward. 

The difference between the execution of to-day’s lesson and 
the last one is that the figure to-day is easier to start and harder 
to finish, while the last one taught, from outside to inside edge, 
is harder to start and easier to finish. That is, it is harder to 
round out the circle after the change of edge from inside to out¬ 
side has been made than it is to round out the circle after the 
change from outside to inside has been made. I have explained 
the reason for this in speaking of the inside edges in several 
former lessons. 



CHANGE OF EDGE OR SERPENTINE. Left inside edge, 
forward, change edge, outside forward. (LIOF) 






Page 38 


Hippodrome Skating BooIei 

This time I have had the drawing illustrate me on the left 
foot. The start may be on either foot first. I advocate start* 
ing on the foot with which one can skate best, for the sakf 
of encouragement and the acquistion of right carriage monl 
quickly. Then practise oftener on the foot which is less perfect 
so as to bring both up to the same standard of efficiency. 

As the change of edge occurs, the balance leg is broughi 
back, past the skating leg and outside the print, the shouldet® 
are slightly turned toward the left, facing more the centre of 
the circle, and the general position described for the inside edge 
circle forward assumed. When the inside circle has been aboiH 
half completed, the balance foot is brought slowly forward and 
carried there to the end of the figure. 


I 



CHANGE OF EDGE OR SERPENTINE. Right outside 
edge backard, change edge, inside backward. (ROIB) 






Hippodrome Skating Book. 


Page 39 


The chief difficulty in learning this figure is found in making 
the sway of the balance foot and leg forward and backward 
again deliberate. To use the swing of the balance foot for the 
purpose of jumping the body into any position is a glaring error. 
The body should roll over the change of edge and the sway of 
the foot past the other be almost unnoticed. 

Start, this time on the left foot, let us say, by thrusting out 
from the flat of the right skate, assuming the position described 
for the correct inside circle, with the right foot behind, slightly 
across the print, both shoulders in line with the print and the 
arms raised. Just before making the change of edge the balance 
foot is brought past the skating foot, close to it and extended 
well in front and somewhat high. As the change of edge is 
made, the centre of gravity should be brought directly over 
the print and at the same time the balance foot, which has been 
in front, should be brought back and carried well behind and 
well across the print. This is the right position for the forward 
outside circle, as will be seen by reference to former lesson and 
diagram on that figure. 

Immediately after the change of edge has occurred the body 
should be straightened up, the shoulders kept flat and the head 
erect and facing the centre of the circle which is being executed. 
A little before the centre of the circle is reached the balance 
foot, which has been carried behind, should be slowly moved in 
front of the skating foot. Great care must be exercised to keep 
the shoulders in right position before, after and especially during 
the changes of edge, for on the right carriage of the shoulders 
and the balance leg the rounding out of the figure depends. 

The changes of edge are performed in three lobed eights. 
One half of the centre circle is performed on one leg, then the 
change of edge occurs and then a full circle on the second 
edge. The main difficulty will be found with the full circle 
after the change of edge. Follow the same directions for the 
right foot inside to outside change of edge. 


Page 40 


Hippodrome Skating Book. 


CHAPTER 9. 

Change of Edge; Backward; Outside to Inside and 
Inside to Outside. 


IE have now reached the place in the school figures where 
they are of sufficient difficulty and interest for their 
1 introduction into my programme as premiere of the ice 
skating ballet in “Flirting at St. Moritz” at the Hippo¬ 
drome. But of course they may be done so fast that they 
will be missed by any except the most observing attendants. 
Theatrical skating, such as I do, has to be fast and sensational. 
The easy transition strokes from one figure to another furnish 
about the only example of school figures which the public will 
quickly catch in my work, although I am constantly doing threes 
and double threes both forward and backward. These school 
figures are so interesting and pretty when well done that I have 
put several of them in my programme. 

The lesson to-day covers two school figures—the changes of 
edge backward, executed on, first, the outside and then the 



CHANGE OF EDGE OR SERPENTINE. Left inside edge, 
to outside edee. backward. (LIVB'I 



Hippodrome Skating Book. 


Page 41 


inside edges. Both these figures include strokes which have 
been fully described in former lessons. The new thing to learn 
is the combination of the two strokes which have already been 
learned into one continuous movement or figure. A change of 
edge either forward or backward implies considerable loss of 
power or momentum at the place where the change of edge 
occurs. The most important thing to learn in all changes of 
edge is the manner of retaining or even of increasing this mo¬ 
mentum at the time of the change. That the momentum of 
a skating stroke can be added to during its execution may sur¬ 
prise some persons who are unfamiliar with skating; nevertheless 
it not only can be done but is done by all who skate the school 
figures correctly. This momentum is added to, sometimes by 
lowering and raising the body, sometimes by rocking the body 
over a change of edge, sometimes by the swinging of the balance 
foot to a new position. 

To skate the backward change of edge, beginning on the 
right outside edge, start off as described for the plain outside 
edge circle backward, with a strong push from the left foot. 
All strokes beginning backward require a stronger start than 
the same strokes started forward. It is easier to walk forward 
than backward; the unnatural stroke is harder to learn than 
the natural one. 

The outside backward circle has been fully described in a 
previous lesson. Start the change of edge backward by making 
this stroke, remembering that one is to skate not merely a single 
circle but a circle and a half and that the stroke must needs be 
strong and firm. There should be strong backward leaning in 
the first half circle of this figure, as in the start of all back¬ 
ward outside edges. The balance foot should be slowly 
brought backward during the execution of the first half cir¬ 
cle close to and past the skating foot to the correct position 
for the outside backward circle. Slight bending of the skating 
knee before the change of edge is advisable; straightening of 
the body after the change of edge increases momentum. 

As the change of edge is made, which should be an almost 
imperceptible swinging over of the bodv from the outside to the 
inside edge, not a quick upset of the balance, the balance foot is 
brought slowly forward, past and close to the skating foot, and 
carried in this position until about one-third of the circle has 


Page 42 


Hippodrome Skating Book. 


been completed. Then the balance foot is again brought 
back, past the skating foot, and correct inside edge backward 
position assumed. 

The second figure consists of a reversal of the stroke which 
has been above described. It starts on the inside edge back¬ 
ward and changes to outside edge backward. These strokes are 
almost equally difficult. The former is easier to start and 
harder to finish, while the latter is harder to start and easier 
to finish. 

It is customary, when following the procedure of the Eu¬ 
ropean skating teachers, to skate first an outside backward 
change to inside backward and then skate an inside backward 
change to outside backward. All changes of edge both for¬ 
ward and backward, therefore, will be skated in an eight having 
three lobes, as per the diagram. If the start of one figure 
has been on an inside edge and change has been made to the 
outside edge, then the next figure will be started on the out¬ 
side edge and changed to inside edge. 

Lunge boldly on to the inside edge, as if to make an inside 
edge circle backward. But before the half circle has been 
completed bring the balance foot slightly past the skating foot 
and close to it. When the change of edge occurs the balance 
foot should be brought forward directly over the print, with the 
balance knee bent and the toe turned out. The location of the 
balance foot throughout all of the changes of edge is of the 
utmost importance. If it is allowed to swing wide from the 
print uneven curves and spirals will result. The described 
position for the outside backward circle is maintained until 
about half of the circle has been skated, when the balance foot 
is brought slowly backward and maintained in this position to 
the end of the circle. The carriage of the body, the arms and 
the head are of the greatest importance in the execution of 
changes of edge and must be carefully memorized and simul¬ 
taneously changed. There should be no jerky movements of the 
balance leg during the execution of the figures but a deliberate 
swing of the body to the new edge and the new carriage. A 
good way of determining whether the figure has been executed 
correctly is by inspection of the print; it should be accurate 
as to half circle and circle, and there should be no snow turned 
up as the change of edge is made. 





“Charlotte’ 
on left 
outside 
backward 
circle. 


“Charlotte” 
at finish of 
right inside 
forward 
circle. 


















THREE. Right outside edge forward, to inside backward. 

(ROFTIB) j 



THREE. Left inside edge backward, to outside forward.! 

(LIBTOF) 





Hippodrome Skating Book. 


Page 45 


CHAPTER 10. 

Threes—Forward and Backward. 

KATED in a series, as I do them, backward, threes 
always interest even those who know nothing about 
skating. They are necessary to the mastery of the ice 
waltz and all the other dance steps. In their simplest 
form, either forward or backward, they are generally graceful. 

There are two ways of regarding the three. Some of the 
best skaters make it very deeply indented, as if there were two 
circles, in the middle of which was placed the threes. Others 
make the three a quick turn, almost unnoticeable on the ice, in 
the execution of a big circle. The later design seems to me to 
be right. I regard the three as a movement which occurs and 
should occur only as part of the execution of a big circle. This 
is the way that I skate it. My style is my own and is a 
combination of the best style I have seen. Every skater 
becomes more or less individual as he becomes expert and in 
some of the best skaters it is difficult to tell where they learned 
or who their teacher was. 

There are eight threes for the beginner to learn—one on 
outside edge forward to inside edge backward, one on inside 
edge forward to outside edge backward, one on outside edge 
backward to inside edge forward and one on inside edge back¬ 
ward to outside edge forward. These must be duplicated on 
each foot, making eight in all. They are progressively difficult 
in the order in which they have been named. 

The outside forward to inside backward three is started as 
one would start a plain circle, on the outside forward edge. 
But gradual rotation of the shoulders toward the center should 
begin as soon as the figure is started. On approaching the 
three the shoulders should be in line with the circle of which the 
three is a part. This position of the shoulders should be main¬ 
tained until the latter half of the figure is nearly completed; it 
will be found of great assistance to the skater in continuing the 
circle to its full shape. It will be noticed from the diagram 





Page 46 


Hippodrome Skating Book. 


that the general position of the shoulders, the arms and the 
legs is almost identical after the turn as before the turn; the 
figure is being finished on another edge, that is all. 

In all forward threes the balance foot maintains its position 
behind the skating foot, both before, during and after the 
three. In the outside backward three the balance foot, which 
at the start of the three took a position slightly across the print 
and over the skating foot, retains that position to the end of 
the figure. In the execution of the inner backward three the 
balance foot may remain in front or may be carried behind; 
either position is correct. If it is carried behind, there should 
be strong sinking on the skating leg at the time the three is made 
and a straightening of the body immediately afterward. 



THREE. Right inside edge forward three, outside backward. 
(RIFTOB) 



Hippodrome Skating Book. 


Page 47 




The inside forward, outside backward three is the easiest 
for the amateur to learn. The inside backward, outside 
forward three is the most difficult to learn and extremely 
difficult to place accurately. It should be practised per¬ 
sistently until mastered thoroughly. 

The inside backward, outside forward three is started as 
for the inside circle backward, but the shoulder over the skating 
foot is turned strongly away from the centre of the circle. As 
the three turn is made the balance of the body should be strongly 
backward and the turn executed on the back or heel of the 
skate. This is the three where the balance foot may either be 
swung around in front of the body or allowed to remain behind 
the body as the turn is made. The illustration shows the latter 
method of making this three. 


THREE. Right outside edge, backward, three, inside for¬ 
ward. (ROBTIF) 


THREE. After the three, right outside backward, three, 
inside, forward. (ROBTIF) 




Page 48 


Hippodrome Skating Book- 


All threes should be placed most carefully at the correct 
position at the top of the indented eight. Imagine two circles 
with a dent inward at the top of each circle and you have the 
right design for threes. In competitions or in serious practise 
of the threes for progress in skating school figures they are 
skated in pairs, starting first forward and then backward. For 
instance, right outside forward, three; left inside backward, 
three. 

The carriage of the balance foot is most important in assist¬ 
ing in the execution of full, round curves after the threes. In 
every case the balance foot should be carried well outside the 
print after the three has been made; this will tend to enlarge 
the portion of the circle following the three. The arms should 
be carried low for all three turns, otherwise they will have a 
tendency to swing the skater out of the true curve and into a 
spiral. 


THE FIRST KNOWN SKATING ILLUSTRATION 

















Hippodrome Skating Book. 


Page 49 


CHAPTER 11. 
Double Threes Forward. 


lOUBLE threes make a very pretty tracing on the ice 
and are especially useful in determining if the skater 

_ has learned the correct carriage for the various turns 

comprising them. Unless that correct balance has been 
learned, the correct execution of the double threes is impos¬ 
sible. There is an agreeable swing to the double threes which 
is lacking in some of the other school figures. They form 
what one might call a finished figure of themselves, both as to 
the tracing on the ice and the position of the skater after the 
figure has been performed. They leave the skater in a naturally 
correct and agreeable pose for the following half of the figure. 

The double threes have this peculiar difference from other 
school figures—they are very much easier forward than back¬ 
ward. But the carriage of the balance foot is much easier in 
the backward than in the forward half of the figures. To-day 
we have the forward half of the double threes—that is, starting 
on each foot forward, first outside and then inside edge. The 
completed figure makes a trefoil, or clover leaf, as will be seen 
from the diagram, one of the prettiest of the school figures. 

Start the double three on the outside forward edge with 
not too vigorous thrust from the foot on the ice, since a certain 
amount of power can and should be gained by the correct 
turns which will be made during the progress of the figure. Too 
strong a thrust will tend to make the skater spin on the first 
three. It is better to start practise of the double threes some¬ 
what slowly, learn where the greatest difficulty lies, and then 
practise overcoming that difficulty by Independent skating of 
the most difficult portion of the figure. 

The general directions for the start of the threes forward 
on the outside edge apply to the start of the double threes. 






■ .<> 







CHARLOTTE” in pirouette. 













“CHARLOTTE” and IRVING BROKAW in hand-over-head 
pair skating. 


Page 52 


Hippodrome Skating Book. 


After the first three has been made, which will bring the skater 
on to the inside edge backward, the balance foot should be 
carried fairly high at first and gradually brought close to the 
skating foot, so that when the skater is ready to make the 
second three the balance foot is close to the skating foot. Dur¬ 
ing the inside edge backward the shoulders and the body should 
be slowly turned away from the centre of the circle toward 
the second three. 

At the moment of the second three the skating knee should 
be bent rather strongly and the body turned, without per¬ 
ceptible jerk, into the right position for the finish of the figure, 
which is on the outside edge forward again. The balance foot 
is allowed to remain slightly behind as the second three is 
performed and, when the third portion of the curve of the com¬ 
pleted figure is about one-half skated, should be brought 
forward into the usual position for the end of the outside for¬ 
ward circle. 

The inside edge double threes forward are started as for 
the inside forward threes, but with more bending of the skating 
knee and with less inward turn of the body toward the circle. 
When the first three has been executed and the skater is then on 
the outside backward edge, the balance foot should be carried 
fairly close to the skating foot and the body should lean strongly 
backward. At the moment of the second three the balance 
foot should be brought close to the skating foot and directly 
over it. 

When the second three has been executed, the balance foot 
may be allowed to linger a little behind the skating foot and 
be carried in that position to the finish of the third curve, or it 
may be brought forward into the customary position for the 
finish of the inside forward circle. Both positions are used by 
the best experts of Europe. 


Hippodrome Skating Book. 


Page 53 


CHAPTER 12. 
Double Threes Backward. 


IHE second half of the double threes are skated back¬ 
ward. That is, both parts of the lesson of the day 

_I start backward. Double threes have the interesting 

peculiarity of finishing on the same edge and in the 
same direction as they are started. They are clover leaf in 
pattern, and should be skated with great care to have the 
leaves equal in size and accurately placed as to the axis of 
the two large circles of which they form a part. The placing 
of all school figures is most important and is the basis of the 
marking which obtains in European competitions. 

Start the figure on the outside edge backward, with a fairly 
strong thrust from the foot on the ice. The general position 
is that which has been described for the outside backward circle 
of three, with a little less turn of the shoulders away from the 
centre of the circle. Gradually turn the body so that, as the 
first three is being made almost the right position for the second 
curve, on the inside edge forward, is obtained. As the first 
three is performed, the balance foot should be in front of the 
body, over the print and not far from the skating foot. A 
slight swing of the balance foot is customary as the first three 
is performed, but the balance foot must not be permitted to 
stray from the skating foot, or there will be a tendency to 
revolve the body from the right position for the second curve. 

The balance foot is carried forward of the body during the 
second curve in the customary position during the inside for¬ 
ward circle and up to the moment when the second three is 
performed, when it should be brought close to the skating foot 



Page 54 


Hippodrome Skating Book. 


and directly over it. There should be considerable bending 
of the skating knee as this second three is made. The balance 
foot drops slightly forward of the body after the three is made, 
as in the usual backward outside edge circle, and the figure is 
so finished. 

The inside backward double threes are started as for the 
inside backward threes, but with more vigorous thrust and more 
bending of the skating knee. The balance foot is carried well 
across the print up to the moment of the first three, when it is 
brought close to and over the skating foot. After the three is 
made there should be general straightening of the skating knee 
and of the body, which will greatly add to the momentum. 
The second curve of the figure, on the outside forward edge, 
furnishes one of the places where much power can be added 
during the execution of a figure. The second three is per¬ 
formed exactly as described in the forward outside three and 
the figure finished on the inside backward edge. 

Many skaters find that the double threes are easier than the 
single threes, and that a series of threes are easier than a single 
three, carried out correctly to the starting point. Such skaters 
should not get the bad habit of doing the more elaborate double 
or chain threes to the neglect of the fundamental single or 
double threes. In time ignorance of the right balance for the 
simpler figures cannot fail to get the skater into trouble. 


Hippodrome Skating Book. 


Page 55 


CHAPTER 13. 
Loops, Forward. 


I HE importance of loops cannot be exaggerated. They 
are in some respects more important than the threes, 
which precede them. They are an entirely different 
balance from figures to which they are very similar and 
for that reason alone are important. If, for instance, one has 
been practising threes and then goes to loops, the different bal¬ 
ance is so great as to disturb the proper execution of either 
figure. Of course, when one becomes expert they can do any 
figure they select, in any order. The amateur and the beginner, 
however, will do well to separate the time of practising certain 
contrasting figures. 

One day make special effort to master the threes, forward 
and backward. Do but little else. Memorize the correct 
balance, the correct carriage of the balance foot, the body and 
the arms. Do no loops that day. Another day specialize on 
loops, making no threes, but studying most carefully the correct 
carriage for loops. Threes and loops are hard figures to prac¬ 
tise in sequence although there will come a time in the progress 
of the amateur when one of the most interesting and beautiful 


figures he can do will be a combination of three, loop and three. 
The single threes, however, and the single loops are a different 
balance from combination three, loop and threes. 

In learning the placing of either threes or loops or brackets, 
it is important that the beginner have in mind the fact that they 
should be executed at the far ends of the figure in which they 
are placed. The length of the curve or part of the circle after 
the three or loop ought to be the same as before the three or 
loop. The loop ought not to be at the end of a long spiral. 
Correct tracing of the figure on the ice is a fundamental part of 
true continental form in skating. 




o 

c: 

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“ 






Hippodrome Skating Book. 


Page 57 


Start on the right foot, outside edge, forward, as for the 
circle eight on that foot, but soon begin to twist the shoulders 
toward the centre of the circle. The balance leg should be 
carried behind and not far out or it will have a tendency to 
swing the skater into a three instead of a loop. As the loop 
is started the skating leg should be bent considerably. When 
the loop is half finished the balance foot which has been swing¬ 
ing around is brought past the skating foot, close to it and 
vigorously but deliberately thrust forward outside the curve 
w’hich forms the finish of the figure. At the same time the arms 
should be brought in close to the body and the body straightened 
up, which will give added impetus for the correct curve to the 

starting point. n u . 

The difficulties in the performance of the loops will be met 
in the correction of balance at the middle of the loop and the 
completion of a full curve after the loop. These difficulties can 
be lessened by much careful study of the right principles before 
the figure is attempted and by repeated practising over and 
over again after the correct balance has been learned. When 
the correct loop movements are once attained it is best to con¬ 
tinue practising them before other different balances are allowed 
to interfere with their complete mastery. 

The inside forward loops are started differently from the 
inside circles as the shoulders should face the centre of the circle 
right from the start. The skating knee should be well bent and 
the balance of the body should be strongly forward until halt 
of the loop has been completed. Then the balance foot, which 
has been carried behind and outside the print, describes a small, 
quick circle directly over the loop and is thrust well forward, 
across and outside the print. The shoulders however, remain 
twisted toward the centre of the circle. The balance ot the 
body before the inside forward loop is strongly forward; alter 
the loop it is strongly backward. After the loop is made 
straighten the body up and bring the arms quickly to the sides 
of the body; the first movement adds impetus and the second 
tends to prevent the following curve from becoming a spiral. 
Loops should be made on a strong edge. After the loop is 
made less edge is required; in fact as little edge as can be used 
to follow the correct curve of the circle back to the starting 


point. 


Page 58 


Hippodrome Skating Book. 



LOOP. Left inside forward, loop, inside forward. (LIFLIF) 


Loops are somewhat dependent upon the freedom with which 
the skater is able to control his ankles. They should not be 
held too stiffly in these figures since a firm edge is needed even 
in the small circles which will be formed and there is change of 
the balance from the forward to the backward part of the 
blade, or vice versa, in the various loops. There should be no 
noticeable pause at the centre of the loop. The balance foot 
should not be employed to jerk the skater out of the loop into 
the finish of the circle. 



Hippodrome Skating Book. 


Page 59 


CHAPTER 14. 
Loops, Backward. 


OOPS are so very important a part of the equipment ol 
the finished skater that I have divided them into two 
chapters. They should have large place in the care¬ 
ful, studious skating of all who are ambitious to make 
good progress in this most graceful of sports. 

There are some interesting peculiarities of loops which may 
be set down as worth remembering. For instance, all loops 
are skated with the balance foot following the skating foot 
before the loop and preceding it after the loop. Again, all 
loops are skated with the balance of the body strongly forward 
before the loop and strongly backward after the loop. The 
balance foot should pass the skating foot very close to it in all 
loops or there will be strong tendency to swing the skater into 
too small a curve after the loop has been made. Loops should 
be almost round as to shape. 

The outside backward loop is in some respects the easiest 
of the four loops. But it is not easy to get the right start for 
this loop. Perhaps more daring is required in the strike off of 
the outside backward loop than is any other school figure. For 
this reason, while championship competitions insist that the start 
of all figures shall be from rest, the beginner may find it 
encouraging to start the backward outside loops after he has 
taken a slight backward outside stroke on the opposite foot. 
This merely for encouragement. After a good start has been 
learned, lessen the times that the assisting motion from the stroke 
on the other foot are used and finally discard it altogether and 
start, as one should, from rest. 

Thrust out boldly on the outside backward edge as for the 
outside backward circle, twisting the shoulders so that they are 
flat with the centre of the circle of which the loop is to be a 
part. Turn the head even more than the shoulders, looking 
almost over the unemployed shoulder toward the spot where 
the loop is to be placed. At the moment of commencing the 
loop the face should be almost directly toward the loop and 



Page 60 


Hippodrome Skating Book. 


both arms twisted well toward the centre of the circle as in the 
diagram. The twist of the shoulders and a sharp swing of the 
balance foot around the skating foot, close to it, will give the 
right rotation for the loop. After the loop has been made the 
head and the shoulder over the balance foot should be kept 
turned well toward the direction of the curve which is being 
skated. It will be found very difficult to round out this 
finishing curve of the outside backward loop. The twist of the 
shoulders and the carriage of the balance foot outside of the 
print are the secrets of its accomplishment. 

The inside backward loops, as has been said of the inside 
edges in general, are easier to start and harder to get out of 
than any similar strokes. To make a clean inside edge loop 
backward and get out of it with a resulting curve of full size 
and true radius is an indication of real proficiency in figure 
skating. Many good skaters fail in this difficult figure. Yet 
it must be learned or other following and combination figures 
cannot be accomplished. 

This loop requires more edge than any of the others. It is 
about the only loop which the experts of Europe agree upon 
as to the place on the blade of the skate with which it should 
be executed. This is the forward part of the blade. 



LOOP. Right outside edge, backward, loop, outside back¬ 
ward. (ROBLOB) 




Hippodrome Skating Book. 


Page 61 


The start is made like the start of the inside edge circle 
backward except that the head is turned over the employed 
shoulder instead of over the unemployed shoulder. That is 
the face is turned away from the centre of the circle of which 
the loop is to be a part instead of toward the start of the 
stroke. The position is similar to that for the execution of 
the three or the backward inside edge but there should be more 
twist to the shoulders. The balance foot should be carried well 
in front of the body, not too high, and over the print. The 
arm of the employed shoulder should be extended well out from 
the body compensating the weight of the balance leg which is 
on the other side of the centre of gravity, as shown in the 
diagram. There should be strong backward leaning of the 
body, as in all backward loops, up to the middle of the loop 
when the balance foot swings past making a small circle, almost 
a flip of the foot, and is carried well out, over the print. The 
curve is finished like the inside backward circle. There is less 
use of the shoulders, and more use of the balance foot in the 
execution of the inside backward loops than in any of the 
other loops. 



LOOP. Right inside edge, backward, loop, inside backward. 
(LIBLIB) 



MRS. JULIEN M. GERARD, MRS. CHARLES B. DIL¬ 
LINGHAM and MISS MADELINE COCHRANE 
at Hippodrome Skating Tea. 



Hippodrome Skating Book. 


Page 63 


CHAPTER 15. 

Brackets. 

IT is most important, in learning the school figures in 
the correct continental style, to remember that all the 

_I school figures should be done in large size. The matter 

of size is, in fact, one of the first essentials in the cor¬ 
rect performance of the continental school figures. It is told 
me that the American tendency is to skate all figures much 
smaller than they are skated in Europe. When the fact is real¬ 
ized that after the figures are learned in large size it is com¬ 
paratively easy to skate them small, and that it is almost impos¬ 
sible to skate them large after they have been learned small, 
the importance of practising all figures large is realized. 

In all simple figures of large size the carriage of the head 
and shoulders is of the utmost importance. For the purposes 
of this argument the brackets may be regarded as simple figures; 
they are much less difficult than many somewhat similar school 
figures. In the execution of small figures the carriage of the 
balance leg and the arms is of greater importance than the 
carriage of the shoulders and head. It is, of course, true that 
no figures can be done correctly, either small or large, unless 
both head and shoulders and balance leg are correctly poised, 
but the relative importance of the parts of the body is as stated. 

While the turn of the threes is a natural turn, the turn of 
the brackets is an unnatural turn. That is, the tendency of 
the body when one strikes out on a right outside forward edge 
is to revolve toward the right. But to make a bracket on that 
foot and that edge the turn of the body must be toward the left. 
It will be seen, therefore, that the stroke is similar, as to the 
edges employed, to the threes, but that the turn of the body is 
in the opposite direction. The diagram clearly explains this 
peculiar turn. There are eight brackets for the skater to master 
—four on each foot—two beginning forward and two begin¬ 
ning backward; two starting on outside and two starting on 
inside edges. 





Page 64 


Hippodrome Skating Book. 


There are slight differences of opinion among the experts of 
Europe as to the manner in which the balance foot should 
be carried in some of the brackets. When one reaches a certain 
degree of proficiency in skating there is reasonable freedom 
allowed for individual preferences in balance. Sometimes these 
preferences are purely physical and sometimes they are based 
upon a difference of opinion as to which is the more graceful 
or effective performance. 

The difference between the execution of the threes and the 
brackets is illustrated in the matter of carrying the shoulders 
better than in any other way. For the threes the shoulders are 
turned well toward the three; for the brackets they are turned 
away from, that is, flat with it. It is a most important difference 
to remember, and on its remembrance is based all successful 
skating of brackets. Another general truth of bracket skating 
is that the balance foot should be very close to, sometimes 
directly over, the skating foot at the time when the bracket is 
being made. This is done by bringing the balance foot slowly 
up to and sometimes slightly in front of the skating foot just 
before the bracket is made. 

For the outside forward bracket start as for the outside 
forward circle, but begin immediately to flatten the shoulders 
with the print. Just before the bracket bring the balance foot, 
which has been carried behind, past the skating foot, close 
to it and glance momentarily at the place where the bracket is 
to be located. At the bracket the body should be flat with 
the circle, the balance on the forward part of the blade and 
strongly leaning toward the centre of the circle. After the 
bracket the balance foot should follow the skating foot, across 
the print, and the general position for the inside backward circle 
be maintained to the end of the curve. 

The complementary half of this figure is skated backward, 
and begins therefore on an inside backward edge in which a 
bracket is made to the outside forward edge on the same foot. 
The general directions for the inside edge circles backward 
should be followed at the start, always remembering that the 
body must be turned gradually so as to be flat with the circle 
at the time the bracket is made. 


Hippodrome Skating Book. 


Page 65 



BRACKET. Right outside edge, forward, bracket, inside 
backward. (ROFBIB) 


Just before the bracket is made the balance foot is brought 
toward, close to and past the skating foot and slightly turned 
outward. This bracket is made on the extreme back part of 
the blade of the skate. After the bracket the balance foot is 
carried behind, across the print and the curve finished as in 
I the outside edge forward circle. Strong bending of the skating 
knee at the time of the inside backward bracket and straighten¬ 
ing up after the bracket will assist in the execution of this 
figure. 

The inside forward bracket is started as for the inside circle, 
with attention to the flattening of the shoulders in line with the 
circle; the balance shoulder must be twisted forward. The 
balance foot is carried behind until just before the bracket, then 
it is carried past and close to the skating foot. This bracket is 
made on the forward part of the blade and the skating knee 
should be well bent during its execution. After the bracket the 
balance foot is carried in front for a little distance then is 




Page 66 


Hippodrome Skating Book. 


slowly moved past the skating foot with the knee turned out in 
the correct position for the outside backward circle. This is the 
easiest of the brackets and may be practised first if desired. 
It is so placed in some of the competitions. 

The complementary figure to the above is the outside back¬ 
ward bracket. This is the most difficult of the brackets. Start 
as for the outside backward circle, but very soon bring the bal¬ 
ance foot slightly past the skating foot and flatten the shoulders 
toward the circle, not away from it; in some respects the most 
difficult of school figure positions. This bracket is made on 
the extreme backward part of the blade. The balance foot 
is kept close to the skating foot during the bracket. After it, 
bend the skating knee momentarily so as to gain power when 
the body is straightened up for the inside forward portion of 
the figure. The balance foot should be carried behind and 
across the print after the bracket for about one-half of the 
curve, then brought forward and across the print in the correct 
position for the inside forward circle. 

In all brackets the carriage of the arms is very important. 
They should not be permitted to swing the body off the cor¬ 
rect balance. As a general rule the arm on the side of the 
body which is leading should be extended well in front and in 
direct line with the circle, the other arm being held not far 
from the body. After the bracket the other arm should be 
extended over the print. Brackets are one of the few school 
figures which may be practised with a partner to mutual benefit. 


Hippodrome Skating Book. 


Page 67 


CHAPTER 16. 

Rockers; Outside Forward and Outside Backward. 

I HE rockers are very hard figures to learn, but they are 
very beautiful and very delightful. Perhaps the big 
I soaring rockers are the most fascinating of all skating 
figures. Many of the champions of Europe use them 
as opening figures in their competitions where judges of skating 
are marking points. I select figures less technical for the pur¬ 
pose of interesting a general audience. 

The rocker is a comparatively new turn which has only 
within recent years been introduced into school skating. North¬ 
ern Europe originated it. Even to-day there are strong dif¬ 
ferences of opinion as to the execution of some of the rockers. 
Probably these differences are based on physical preferences of 
skaters. 

Rockers are natural turns—that is, they are rotations of the 
body in the direction which it is inclined to take, like threes. 
But the same edge is employed after as before the rocker, as 
right outside forward to right outside backward. Flexibility 
of the hip joints and courage to take a strong if apparently 
dangerous change of position are the chief requirements to the 
mastery of the rockers. The body and shoulders are often 
required to maintain one position while the skating leg from 
the hip down is being twisted into a different position in readiness 
for the new curve which finishes the figure. Again, as in 
brackets, the aid of a partner is most useful in learning the 
rockers. But the assistance should be merely a touch of the 
fingers to give confidence at the critical moment, not a firm 
support or guidance. To know that after one of these difficult 
turns there is a partner’s hand waiting often greatly stimulates 


courage. 



Page 68 


Hippodrome Skating Book. 


Jerkiness and noticeable pause in the execution of the figures 
are bad form. The momentum should be continuous and even. 
Unless it is, the figure will be badly done and the balance 
interfered with. The whole print of the complete figure should 
be in the mind of the skater before he starts. Room for its 
execution should be found and even a clear idea of where the 
prints are to be made on the ice should be in mind. Regard 
rockers as a series of closely related movements forming a con¬ 
tinuous whole and the work will be easier and more perfect. 

Start the outside forward rocker as for the outside forward 
circle with a strong edge and twisting the shoulders toward the 
circle. The balance foot should be brought up close to the 
skating foot just before the rocker and be almost over it when 
the rocker is made. The turn is made on strong edge in every 
case. The arms should not be allowed to spread or they will 

swing the body at the turn. The rocker is made by the strong 
twisting of the hip joint and skating foot at the moment of 
the turn, the skate making almost a complete reversal of posi¬ 
tion from forward to backward. The head should look in the 
direction of motion before and after the rocker. The glance 
may be directed to the place where the rocker is being made at 
the moment of its execution, but afterward the head should be 
carried erect. 

At the moment of the turn the body and shoulders are 
twisted back into the position for the second portion of the 
figure, the skating foot is turned well outward as for a “spread 
eagle,” the balance foot is brought behind and inside the print 
and the arm over the balance foot extended well in front in the 
direction of the circle. The head is carried erect, the glance 
toward the direction of travel and the figure finished as in the 
position of the outside backward circle. 

The complementary half of the figure is the outside back¬ 
ward rocker, which is in many respects the easiest of the rockers. 


Hippodrome Skating Book. 


Page 69 


The main difficulty is to get adequate start for the figure, for 
all rockers require speed. Start as for the outside backward 
circle, twisting the body and shoulders toward the direction of 
the curve. The skating foot therefore will be in line with the 
shoulders in a “spread eagle” position. At the moment of the 
turn the skating foot should be directly under the body and 
the balance foot close to it and slightly behind. As the turn 
is made, bend the skating foot momentarily, straightening up 
immediately afterward. The balance of the curve to the com¬ 
pletion of the circle should be done as in the outside forward 
circle, but to carry the curve out in large shape the balance 
foot must be carried outside the print and the shoulders turned 
well away from the centre. 


J\ ^ 

Beaks, Open. Beaks, Olosed. Beaks, Cross-cut. 


Page 70 


Hippodrome Skating Book. 


CHAPTER 1 7. 

Rockers; Inside Forward and Inside Backward. 

LTHOUGH the rockers, or rocking turns, as they are 
sometimes called, are very difficult and very beautiful, 
they are not especially adapted to a place in theatrical 
skating. If I were giving an exhibition before skaters 
only I would probably introduce several of these spectacular 
turns. I find other numbers a little more suited to the dashing 
performance expected in a programme offered a general 
audience. 

In the last lesson, which was on rockers, we learned how 
to execute the forward outside rocker and the backward out¬ 
side rocker, which are complementary figures, or one-half of 
a school figure. This lesson to-day has to do with the remaining 
portion of the figure, a rocker on the inside edge forward and 
a rocker on the inside edge backward. These are done on 
alternate feet and, as will be seen, complete the series of 
rockers, one on each foot and on each edge. This method of 
practising all the school figures, forward and backward, on 
both edges on both feet, is most important. No skater can 
be considered as having learned the fundamentals of skating 
until he can do the school figures on both feet and in both 
directions. On the stage of the Hippodrome I frequently exe¬ 
cute difficult spins and jumps on one foot, and then on the other 
foot, not for the purpose of prolonging the number but for the 
purpose of showing that I can do them equally well on either 
foot. 

The start of the inside forward rocker is made like the start 
of the inside forward circle, but a strong inside edge is taken 
and the rotation of the body toward the circle is held back. 
When a little less than one-half of the first curve has been 
skated on the inside forward edge, the balance foot, which has 
been carried behind the body, is brought close to the skating 
foot and at the moment of the turn is directly over it. But the 
change in position of the balance foot must not be allowed to 





Hippodrome Skating Book. 


Page 71 


alter the correct, if somewhat forced, position of the shoulders 
and body, which should be in the right position and the balance 
for the second portion of the figure even before the turn is made. 
This curious characteristic of rockers has been referred to 
before—that the body must be turned and ready for the new 
position even before the rocker is performed. But the skating 
leg and foot must be held rigidly to the execution of the first 
position of the figure before the turn, even while the shoulders, 
the body and the turned head are already in position for the 
latter half of the movement. 

The rocker should be executed on a strongly bent skating 
knee and after the turn there may be additional bending of the 
skating knee for the purpose of adding momentum as the knee 
is straightened just after the turn is made. This rocker is made 
on the forward part of the blade. The inside forward rocker 
is one of the few skating movements where both knees are 
allowed to be close together for a moment. The arms should 
hang loosely at the sides of the body during the turn, with the 
hands turned slightly upward and the palms down. After the 
turn the forward arm should be extended in the direction of 
motion for both appearance and balance. The balance foot 
should be carried in front, over the print before the turn, and 
behind after the turn, but this is one of the figures where there 
is considerable difference of opinion as to the best if not the 
correct carriage of the balance foot during the execution of the 
figure. 

The figure is skated easiest, as are all rockers, when skated 
fast and large and the turn made as quickly as possible. This 
requires some daring and pluck. The inside edge backward, 
upon which the figure is finished, is difficult to hold out to the 
true curve, but the general directions for the inside backward 
circles are all that are required for its mastery—with a generous 
amount of practise. 

The complementary half of this figure is the inside backward 
rocker. Start as for the inside circle backward; soon bring the 
balance foot forward and slightly past the skating foot so that it 
is close to the skating foot at the moment of the turn. The 
body, as in the case of all rockers, should be directly over the 
turn at the moment it is made. As the turn is made the balance 
foot is brought back sharply to the skating foot; the twist of 


Page 72 


Hippodrome Skating Book. 


the shoulders in position for the forward inside edge with a quick 
turn of the skate on the ice executes this difficult, catchy move¬ 
ment. The turn should be made on the backward portion of 
the blade. This is the most peculiar of the rockers and is more 
of a knack which, once caught, is not readily forgotten. The 
figure is finished in the usual position of the forward inside circle 
and the balance foot is brought past the skating foot when about 
one-half of the final circle has been completed. 


^ S, f O 



SPECIAL FIGURES. 




Hippodrome Skating Book. 


Page 73 


CHAPTER 18. 

Counters. 

OUNTERS are very similar in appearance to rockers 
but the turn is made away from the centre instead of 

_ toward it. A rocker is a form of three out of which 

one comes onto the same edge in a different direction. 
A counter somewhat resembles a bracket in appearance but 
the continuing stroke is on the same edge as that employed 
in the first half of the figure. As in the rockers, the direction is 
reversed at the turn; forward, counter, backward or backward, 
counter, forward. The change is always to the same edge. 
A change of edge is sometimes made in the execution of both 
brackets, rockers and counters but such a move is a violation 
of the correct performance of the figure. It must be scrupulously 
guarded against. 

In many important respects counters are executed similarly 
to rockers. There is a careful swing of the balance foot just 
before, during and just after the turn. Simultaneous action 
of the skating leg, the balance leg, the shoulders and the head 
are of greater importance in this figure than in any other. Yet 
the counters are easier than other turns of a similar character 
which already have been studied even although they are what 
I have called unnatural turns, or turns in violation of the 
natural rotation. 

The outside forward counter is started as for the outside 
forward circle. The shoulders should be held back, against 
the curve, not as in threes or rockers, with the curve. In all 
forward counters the balance foot is brought forward, past the 
skating foot, then, at the moment of the turn, back again, close 
to the skating foot. After the turn it is carried forward again 
in the correct position for the second portion of the figure 
which should be skated as if entirely independent of the first 
portion. In all counters, the body should be turned in readiness 
for the correct position of the second part of the figure before 
the first part has been finished. This implies flexibility of 
muscles and control of bodily poise which are difficult to acquire. 
Excellent practice for these intricate skating positions can be 




Page 74 


Hippodrome Skating Book. 


obtained on a floor, with skates off, by turning the body and 
the legs in the various correct positions and memorizing them. 

The outside backward counter is skated with a strong outside 
edge at the start of the figure, a little more deliberate drawing 
up of the balance foot and special care that the balance foot is 
very close to the skating foot at the time of the turn. There 
should be strong backward balance of the body just before 
the turn is made; just after it a momentary strong bending of 
the skating knee. This turn is made on the forward part of 
the blade and is regarded by many good skaters as the most 
difficult of the counters. 

Inside forward counters are not more difficult than outside 
forward counters. They are started as for the bracket with 
the shoulder over the balance foot leading. The shoulders are 
held square with the circle until the turn. The turn is made 
on the forward part of the blade. After the turn there should 
be strong bending of the skating knee and quick straightening 
of it. The figure is finished as for the inside backward circle. 

For the inside backward counter a vigorous thrust is essential. 
Bend the skating knee well from the start of the figure up to 
the moment of the turn, when it should be slightly straightened, 
the balance foot brought close to the skating foot and the 
shoulders held as for the inside backward bracket. This 
counter is made on the heel of the blade. 



COUNTER. Left outside edge backward, 
counter, outside forward. (LOBCOF) 



Hippodrome Skating Book. 


Page 75 


CHAPTER 19. 

The Advanced School Figures. 


HE advanced school figures, as will be seen from a 
glance at the diagrams, consist of developments and 
combinations of the elementary school figures. There 
are no really new figures among them unless the con¬ 
tinuation of the change of edge into the form of an eight can 
be so regarded. Some of them are of the greatest importance 
since in one figure are combined all the changes of edge and 
all the threes or loops. They should be very carefully prac¬ 
tised and fully mastered. When they have been included 
among the figures which the skater is able to correctly execute 
with ease that skater is fully entitled to a place among the 
expert skaters of any country and any place. 

These elementary and advanced school figures contain so 
many difficult elements and combinations that time for other 
interesting movements will be hard to find. It is well to vary 
the practise, therefore, and retain the interest, by introducing 
a bit of free skating now and then. Let individuality have 
play occasionally. Get a little fun out of even the most 
serious skating practise. Skating is hard work and requires 
much application. Do not let the interest flag by too extended 
sessions of uninterrupted work. Keep in mind the fact that 
skating IS a beautiful sport and a delightful diversion. 



ADVANCED SCHOOL FIGURES 










I I T 

Spectacles. Reversed Cross-cut, Cross-cut, Cross-cut, 

Spectacles. Straight top. Curved top. Intersected top. 



Cross-cut. Sanders Reverse Cross-cut. Double Anvils. 


I 

Diamond Cross-cut. 


Lebedeff Reverse Cross-cut, 





Hippodrome Skating Book. 


Page 77 


CHAPTER 20. 

Other Important Figures. 

|HILE the school figures, both elementary and advanced, 
have been described or illustrated, there are other 
important figures which the skater should learn. These 
will be useful for introduction into any free skating 
programme and some of them are exceedingly interesting. In 
my theatrical skating I make up a programme which con¬ 
tains very few of the school figures. Spectacular jumps and 
spins, pirouettes and acrobatic development of skating strokes 
are the most taking features of any skating programme offered 
to the general public. For this reason, the skater who is 
ambitious to become an exhibition skater must perfect him¬ 
self or herself in these movements which are somewhat outside 
of the strict school figures but which nevertheless are most 
important additions to general figure skating. 

In this list are comprised cross-cuts or anvils, the very 
names of which tell the method of their execution or appear¬ 
ance, also spins, pirouettes and jumps, introduced between 
changes of direction or edge, or for their own sake as inde¬ 
pendent movements; grapevines, beaks, spectacles, spirals 
spread-eagles. From these figures, together with the school 
figures, all skating exhibitions and competitions are made up. 

It would be difficult indeed for even the most painstaking 
student of skating to learn some of these movements from a 
printed description or diagram of them. Such description is 
almost worthless. They can be learned best from a teacher 
and in almost every locality where there is figure skating there 
will be found at least a few skaters capable of executing some 
if not all of these free skating figures. The student is urged 
to watch carefully the strokes of those who can do them and 
then work the figures out for himself on the ice. Do not be 
ashamed to ask questions of those who skate better than you 
do. Make pencil sketches of figures that interest you and 
write down the correct carriage of balance foot and arms 
until you have learned them. 



Page 78 


Hippodrome Skating Book. 


Spins and whirls, on one foot or two feet, on the flat blade 
of the skate or on an edge, are best started from a long, strong 
spiral on one foot which ends in a three, the balance foot and 
the arms being swung widely to give rotating impetus. Pirouttes 
are done on the toes of the skates and imply extremely difficult 
balances. Jumps on to the toe of the skate are not so difficult, 
although they appear very difficult, are very effective for 
exhibition purposes and often form very pretty interludes to 
introduce into a skating programme. 

Cross-cuts and anvils are explained in the diagrams. They 
are not pretty figures but are sometimes useful in embellishing 
a skating programme through their oddity. Spectacles are 
often extremely beautiful numbers to skate to music, the balance 
foot beating time in the air. Spirals are splendid figures for 
pair skating or for the demonstration of graceful carriage. The 
various grapevines have never been very popular in Europe 
yet they have much value in stimulating ingenuity and in 
increasing the flexibility of the ankles. Some surprising figures 
can be built up by executing one movement with one foot 
while the other foot executes a different movement. 

The spread-eagle is a figure which many skaters find them¬ 
selves physically incapable of. It requires a flexibility of the 
hip-joints which can not always be cultivated. It can be 
made very spectacular by the introduction of jumps while it 
is being performed. Some of the cross-cuts and even some 
of the dance steps, require that the skater be able to execute 
the spread-eagle. It should be learned unless physical inability 
prevents. 

The various dance steps are merely variations of the school 
figures or the addition to them of some of these movements. 
Few of them are at all difficult, the combinations being all 
that the skater has to learn. The waltz, for instance, is simply 
the three turn, on both edges, forward and backward, with a 
partner, who is oftener a help than a hindrance to the 
beginner. 


Hippodrome Skating Book. 


Page 79 


CHAPTER 21. 

Free Skating. 

HE term free skating is applied to that portion of the 
programme not included in the school figures. In all 
championship contests certain selections are made from 
the school figures and then the competitor is allowed 
a few minutes in which to illustrate his ability to 
skate special figures or elements not before shown by him. 

While the skating of school figures is always to place, and 
the marking of that skating is dependent upon the ability of the 
skater to make his tracings upon the ice conform to correct 
designs, the free skating is, as its name implies, entirely inde¬ 
pendent of conventional form and may be located at any 
place upon the ice. The free skating programme is the most 
interesting portion of the contest generally and offers the best 
test of the skater’s ability to illustrate mastery of the spectacular 
side of the sport. 

There are no set figures which the skater is expected to 
demonstrate in free skating. He has a limit of time, that 
is all. In that time he may skate as many different or similar 
figures as he sees fit, large or small, intricate or simple. Every 
resource of his skating knowledge may be brought into play 
here. Therefore it is not surprising that this portion of the 
skating contests in Europe attracts very large crowds from 
long distances. My skating on the stage of the Hippodrome 
is what might be called free skating, except that I am skating 
for the general public and not for skating judges. If I were 
skating for judges of skating I would introduce a few more 
difficult, if not more spectacular, skating figures. 

Any skater intending to enter a competition should care¬ 
fully work up a free skating programme, learn it by heart 
and be able to skate it without pause. Often this portion of 
the contest serves to rate a skater very high and helps out 
greatly when the skater has had low marks for the school 
figures. 

Certain programmes are generally followed in free skating. 
Starting with a series of running steps, to get momentum, then 



Page 80 


Hippodrome Skating Book. 


a long spiral and a spectacular jump; toe spins; bold, large 
figures in the form of an eight; dance steps, a spectacle figure 
to time of music; finishing with a spectacular spin on one foot, 
crouched down close to the ice with the other foot curled 
about the skating foot in front: this makes a combination which 
suggests what can be done. The spread-eagle is another im¬ 
portant figure to introduce into free skating programmes. 



EIGHT ON ONE FOOT. 



THREE—CHANGE- 
THREE. 


() CHANGE OF EDGE 

—three. 



CHANGE OF EDGE 
—DOUBLE THREE. 



CHANGE OF EDGE 
—LOOP. 



DOUBLE THREE- 
CHANGE— 
DOUBLE THREE. 


LOOP—CHANGE— 
LOOP. 



CHANGE OF EDGE 
-BRACKET. 


' BRACKET—CHANGE^ 
( \ BRACKET. 


Hippodrome Skating Book. 


Page 81 


CHAPTER 22. 
Pair Skating. 


AIR skating implies adaptability. One must not only 
be an independent skater but must also watch his 

_ partner and meet that partner’s stroke or change of 

stroke. Evenness and accuracy in individual skating 
are more necessary in pair skating than in solo skating for on 
that accuracy depends the manner in which the partner is met 
after separating strokes. In many figures the difficulty is 
enhanced by not only having to execute the figure but meet 
the partner at the right spot and the right moment afterward. 
It is in some respects a finer art to skate well with a partner 
than it is to skate well alone. Where charm and grace are 
revealed in individual skating, the addition of a partner who 
skates equally well accentuates the grace and beauty of this 
poetry of motion. 

Many other delightful features are characteristic of pair 
skating. It is the sociable form of skating. As in dancing, 
where few are expert enough to do solo dancing, thousands 
enjoy dancing with a partner. There is stimulus to individual 
achievement in skating with a partner. Weak figures are aided 
in their development by encouragement and the helping hand. 
Rivalry results and helps toward progress. The mere presence 
of an assisting hand will often aid the ambitious skater in the 
first mastery of a difficult balance or the sustaining of a long 
spiral. Individual skating, when it is highly perfected, tends 
somewhat toward an over-abundance of dance steps and toe 
movements, while pair skating remains skating at its best— 
the long, sweeping, exquisitely poised curves carried over two 
hundred feet of glistening ice. 




Page 82 


Hippodrome Skating Book. 


For pair skating a certain amount of preliminary progress 
in individual skating is necessary. Each skater should be able 
to do the outside edge forward circles and at least strike out 
alone on the backward edges. Each should be able to execute 
the threes on both feet, at least forward. With these funda¬ 
mental accomplishments it is possible to do very pretty and 
very interesting pair skating. Figures which seem not at all 
remarkable when skated alone have added interest and beauty 
when skated with an equally competent partner. Even the 
waltz, which is in some respects the most effective of all pair 
skating numbers, can be done by skaters who have not advanced 
further than this point. 

Practise first, skating forward, one behind the other, right 
and left hands touching and letting the skater behind swing 
across the direction of the skater in front. Thus at the start 
of the stroke, the skater behind will be at the right side of the 
skater at front and at the end of the stroke will be at the left 
side. The arms of the skater in front swing behind and from 
side to side as the partner crosses. It is most important that 
in this as in almost all pair skating figures, the fingers merely 
touch; each partner should skate practically an independent 
circle. There never should be interference with the balance 
of one partner by the other. Only in the waltz is a firm swing 
of partners customary and advisable; or in the more difficult 
change of edge-three. 

When some slight familiarity with this figure is attained 
then stand side by side, the forward skater’s left hand in the 
partner’s right. Strike out boldly on the right outside edge 
still touching hands, with intent to make a big circle. After 
about one-quarter of the circle has been skated let go of hands, 
continue skating the circle alone for one-half of its distance, 
which will bring the skater at the back across the circle being 
skated by the one in front and to the right side of the forward 
skater. Here, as about three-quarters of the full circle is 
skated, the forward skater’s right hand will be caught by the 
partner’s left hand and the figure finished in that position. This 
is very simple, very graceful and very effective. It should be 
skated in the form of an eight and each full stroke will then 
bring the skater back to starting point. It has the advantage 
of interfering less with the correct balance of the skaters and 


THE ELEMENTARY SCHOOL* FIGURES 



RIGHT 


























Hippodrome Skating Book. 


Page 85 


the correct carriage of the arms than the former figure. The 
better skater of the two should skate behind. The forward 
skater should pay very little attention to the partner, all the 
matching of stroke and the catching of hands being attended 
to by the partner behind. 

; The circle eights, forward, hands joined with those of the 
partner and the stroke swinging the skaters around a great 
circle where the skater behind gradually crosses the direction 

I of the skater in front, may be followed by same stroke back¬ 
ward. It will facilitate progress if the weaker skater skates 
I the circle eight backward and the more expert of the partners 
skates it forward. The better skater will thereby be able to 
aid the poorer skater. Start, for instance, facing each other 
and with opposite hands touching or clasped. Let the poorer 
skater, who is attempting to learn the outside edge circle back¬ 
ward, strike out on the right foot aided by a vigorous push 
from the good skater facing forward. The better skater will 
do the circle on the left foot forward outside edge while the 
poorer skater will do it on the right foot backward outside 
edge. When the beginner is able better to skate on the right 
foot than the left the the foot on which he is most expert 
should be used in the first trial, so as to give encouragement 
and confidence. Every figure must be learned on both feet 
and can be so learned if one persists. Generally it will be 
found that people ambidextrous in the use of the hands skate 
equally well with both feet. Strongly right handed people 
will generally skate better with the left foot and should 
practise more, therefore, with the right foot. 

When reasonable familiarity and security has been obtained 
skating backward while the partner is skating forward, then 
both may skate backward, first with hands touching through¬ 
out the full circle and then executing the circles by touching 
hands at the start, skating alone one-half of the backward 
circle and then joining the opposite hands at the close of the 
stroke. This is similar to the position recommended for learn¬ 
ing the forward outside circles together. 

The inside edge backward circles are much more difficult 
to learn than the outside backward circles. They are best 
learned when the poorer skater skates inside edge circles back¬ 
ward while the better skater makes the circle on the forward 



Page 86 


Hippodrome Skating Book. 


inside edge of the opposite foot and the partners face each 
other with both hands touching throughout the circle. As 
proficiency is attained, one hand may be removed and merely 
the fingers of the partner’s hand touched for assistance in this 
difficult balance. It will rarely be found, however, that the 
inside backward edges are required to be skated together. But 
they are so important in individual skating and so much easier 
to learn with a partner than alone, that they should be regu¬ 
larly practised when pair skating. 

A beautiful variation of the hands-over-the-head circles is 
that where the first circle is skated on the forward outside edge 
with both hands touching all through the circle and passing 
over the forward partner’s head. Then a swing of the part¬ 
ners occurs, a three on one foot is executed by both and the 
eight is completed by another circle skated backward on the 
outside edges of the opposite feet. Such a figure is easier 
than it appears. 

One of the most agreeable and simple figures for paii 
skating is the “once-back.” Both partners skate this figure 
on the same foot and simultaneously. The gentleman stands 
to the lady’s left, her hands behind and to the left touching 
his. A bold, strong outside edge circle is started by each 
skater on the right foot. When one-third the circle has been 
skated a three is made and immediately an outside edge back¬ 
ward stroke on the other foot. Both partners are now going 
backward on left outside edges. When two-thirds of the 
circle has been skated a three on the left foot is made and 
the pair strike out on the right outside forward edges to the 
spot where the figure was begun. The gentleman’s arm should 
slightly support the partner at the three turns. 

After the change of edges, starting on outside and then 
on inside edges forward, have been mastered, touching hands 
and with release of hands, the next figures to introduce are 
the changes of edge with a three. This figure is known as 
the “Q,” and is by no means as difficult as it looks when 
skated by two. It is started on the outside edge, both partners 
holding hands behind the lady’s back. Then follows a change 
of edge and a deeply cut three, during the execution of which 
the lady is swung strongly around the man at the finish of 
the figure. 



CHARLOTTE” and IRVING BROKAW in correct waltz 
ing position. 








Page 88 


Hippodrome Skating Book. 


The most popular and one of the easiest of pair skating 
figures is the waltz. There can be no comparison between the 
delight of waltzing on ice and waltzing on a ballroom floor. 
There is an exhilaration and rhythm about ice waltzing which 
nothing equals. The skating stroke is long and swaying and 
fits the music better than dancing steps can be made to do. 
Probably the waltz, owing to its ease of accomplishment, will 
be the most stimulating influence toward making ice skating 
popular among both men and women. Almost any couple 
capable of skating the simplest of the school figures can learn 
the waltz on ice, whether they dance or not, in a very few 
trials. 

The steps are the forward and backward outside edges and 
the threes. One has the advantage of a partner at the threes 
who is placed where help in the balance is most desired. 
There is an advantage in knowing the change of edge, but it 
is often attempted for the first time in this waltz skating. The 
only disadvantage in the waltz which women who are not 
good skaters experience, is due to the fact that the woman 
skates backward most of the time so as to allow her partner 
to lead. There is more danger of bad collisions on the ice 
floor than on the ballroom floor and a good waltzing partner 
is even more desirable on the ice than in the ballroom. 

The waltz is started with the woman skating the backward 
outside edge while her partner skates the forward outside edge. 
After a short stroke a three is made by each on the foot with 
which the stroke was started, then a stroke on the outside edge 
of the opposite foot, another three and then a third stroke on 
the same foot with which the figure was commenced. Here 
a change of edge can be made and the figure carried out into 
the form of an eight. There are innumerable variations of this 
simple figure, including undulations or waves made by changing 
edge at various places, the figure can be directed into large 


Hippodrome Skating Book. 


Page 89 


or small circles and continued in spirals or circles. It is pos¬ 
sible to make of it a very carefully located figure skated to 
place or a bold, free figure skated in field. 

Care should be exercised to keep the strokes in time with 
the music and to make the strokes of each partner match. 
There should be no conscious effort or swinging of the partner. 
Do not cross the balance foot over the skating foot as the 
new stroke is made nor raise the balance foot high during 
any of the strokes. After the third stroke of the waltz step 
has been made let there be a slight change of edge by the 
lady; this will bring her into the right position, slightly across 
her partner’s line of direction and place them both in the right 
position for the new stroke. Skate rhythmically and sway to 
the time of the music. Skate deliberately and with every 
appearance of enjoying it. Nothing could be further from 
good form in ice waltzing than a fast, nervous method reveal¬ 
ing insecurity of balance and pose. 

Spirals are splendid figures for pair skating. They may 
be skated on outside or inside edges, with the man behind and 
facing in the same direction or in front on the opposite foot and 
facing in the opposite direction. In this latter pose some of 
the most daring and spectacular of skating movements can be 
executed; they are as easy as they are striking. 

Jumps and pirouettes, done by both partners or by one, 
are also pair skating possibilities. One of the most spectacular 
pair skating jumps consists of a leap by the lady from the 
outside forward edge to the outside backward edge around 
her partner, or sometimes almost over his shoulder. This is 
done at high speed and is very pretty as well as very daring. 
This is true skating and at the same time acrobatic skating ol 
the most difficult character. 



Page 90 


Hippodrome Skating Book. 


CHAPTER 23. 

Competitions and Judging. 

jHERE is no greater stimulus to skating interest than 
a competition m which numbers of the best skaters 
enter and in which the judging is satisfactory. In 
Europe these competitions are held every winter and 
call out entries from many localities. After a series of eliminar 
tion contests by which the local champions are determined, 
there aie then held the national and international champion¬ 
ships. These latter are not held m the same place every 
year, but are taken about so that different localities and 
even different countries, may have the privilege of seeing the 
champions skate and of feeling the stimulus to copy their 
fine work. 

There should be frequent competitions in every locality. 
Sport clubs generally are equipped to arrange these events and 
carry them to success. Let them invite local champions and 
good skaters from the vicinity. From these the winners may 
be selected to represent the locality in skating events at a 
distance or even national championships. In the United States 
there would seem to be good opportunity to develop state 
champions and from them determine who is the national cham¬ 
pion. The great distances which separate the different parts 
of your country seem to be the only drawback to such an 
interesting series of skating competitions. 

The selection of judges is most important These should 
be themselves good skaters, familiar with the style of skating 
now generally accepted all over the world as correct, the 
principles of which are the subject of this book. They should 
be encouragers of skating and do everything in their power 
to interest the competitors and the public in the event. Much 



Hippodrome Skating Book. 


Page 91 


of the interest in future contests depends upon the judges. 
No sport can long carry the handicap of unfair or biased 
judging. 

A selection from the elementary and advanced school figures 
is made by the three or five judges. Every competitor is 
required to skate these figures. Then three or five minutes is 
allowed for free skating. The standards for judging the free 
skating are difficulty and variety of the contents of the pro¬ 
gramme and its manner of performance as to arrangement of 
figures, combinations and contrasts, correct carriage, etc. The 
judges make their marks independently and the totals are then 
combined. The method of marking both school figures and 
free skating is to give the competitor a mark for his performance 
which may be anywhere between 0 and 6 and then multiply 
this mark by the factor which is shown for the figure skated. 
The factorial number is stated opposite each of the school 
figures in the diagram. 

The arrangement is such that no free skating programme, 
however perfect or spectacular, can win for the skater more 
than two-thirds of the marks obtainable for perfect execution 
of the school figures. In other words, mere showiness of 
skating cannot win over superior performance of foundation 
elements. The justice of this arrangement is obvious. The 
marks for the school figures and the marks for free skating 
form a total which is the rating of the skater in the competition. 
If there is a tie the skater having the highest marks in school 
skating wins. 

The basis for judging is first, correct tracing on the ice; 
second, position, carriage and movement; third, size of the 
figure; fourth, the placing of the figure in triple repetition. 
The judges’ cards should be carefully kept and shown after¬ 
ward on demand. 


Page 92 


Hippodrome Skating Book. 


CHAPTER 24. 
Skating Ponds and Rinks. 


HERE should be encouragement of skating on the 
part of every community by the maintenance of skat¬ 
ing ponds and rinks. No better exercise can be 
provided for by any city or town. It is almost a 
universal pastime in all northern climes and would be even 
more popular than it is if facilities for its enjoyment were 
increased. 


Deep lakes and ponds require from three to five inches of 
ice to be safe for any considerable crowds. It is better to 
flood tennis courts or parade grounds than to wait for con¬ 
tinued cold weather to furnish sufficient ice for the sport. Even 
a small area, no larger than a couple of tennis courts, will pro¬ 
vide sufficient space for a dozen people skating the largest of 
the school figures or for several pairs of skaters. 

In localities where it is not often below 15° F., flooding 
the surface is not wise. It is better to spray from the hose 
after nightfall or just as the severe cold spell arrives. Bad 
spots and cracks should be cut into and a putty made of snow 
and hot water should be laid in them. Snow ice, or shell 
ice, should be broken with the foot or shovel and putty of 
snow and water pounded into the holes. When snow falls 
sweep It off at once and make it into an embankment at the 
sides of the rink. Strong sun melts thin ice much quicker than 
thick ice. By keeping track of the weather reports splendid 
skating can often be obtained by very little attention to the 
skating pond. A large watering pot is sometimes a sufficient 



Hippodrome Skating Book. 


Page 93 

implement with which to renew the surface of a badly cut 
skating area. 

Ponds and small lakes should be swept occasionally by the 
skaters themselves if paid help is not available. Drift of 
dust and dirt spoils skating and sticks or chips from hockey 
sticks or old wood often cause the worst of falls. Sweep 
the snow toward the lower end of the pond so that if rain 
comes there will be a bank to hold the water and form a 
new surface of ice. Set off a small portion of the lake for 
figure skating if hockey is being played. 

Encourage games and races and figure skating competi¬ 
tion. Get up moonlight skating parties on the ice. String 
lanterns about and have a costume skating carnival. If the 
circumstances permit make a gigantic bonfire and provide 
hot coffee and other refreshments. In some parts of northern 
Europe large parties of young people skate great distances 
on the rivers, stopping at various towns for lunch and dinner 
and returning by train. 



Hiiip6drome Skating Book.] 

aJ. P Muller AND Company 

^ENER/^ k^YERTISINC AGENIT 
CAN I^^JI^B^IJJILDINO 
220-22i^WEST 

NEWVORK 


*r^TRICTLY A 
ADVERTISING 
NEWSPAPERS 


TELEPHONE BRYANT 9S* 


fSXRVICE AGENCY 
PLACED IN 
EVERYWHERE 



“Charlotte” on the Hippodrome Ice Pond, Where She 
Achieved Her Great American Triumph. 








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This popular saw-tooth skate 
and distinctive shoe make an 
ideal outfit for rink or fancy 
skating. 

Used and endorsed by the N. Y. 
Hippodrome. 


$ 9 ^ 


Other Complete 
Outfits 

suitable for beginners, fancy 
skaters, racers or hockey players. 

$3.95 up to $22.50 

Mail orders filled. 

Write for Complete Sporting 
Goods Catalog “H C”. 


DflVEQfl s 


831 Broadway, New York, The Hippodiomroiltfit 









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